Introduction to Frontline
Frontline is a satire which parodies TV current affairs shows that are driven by ratings and commercial interests at the expense of integrity and the truth. Viewers are taken behind the scene and a documentary feel is created through the use of short sharp scenes and the use of the hand-held camera. We witness the hypocrisy, manipulation and deception that is displayed in both the interactions of the characters as well as in the construction of the stories.
Frontline is the result of an on-going collaboration of a group of creators and performers, Rob Sitch, Tom Gleisner and Santo Cilauro.
It is extremely important to consider the idea behind the elective Telling the Truth; and how the text of Frontline, with its “show within a show” structure, provides a unique opportunity to explore more than one process of composing and representation. Because Frontline is a parody presented in a behind-the-scenes, almost documentary style; the viewer receives a fly-on-the-wall perspective of the factors which create the meaning of the fictional current affairs show, “Frontline”, as well as an opportunity to explore the techniques used in composing a satirical television series, Frontline. It is imperative that you understand the distinction between these two “productions” and to this end; I have referred to the set text as Frontline and the fictionalised current affairs program as “Frontline.”
When we view and discuss the episodes, especially in terms of the way that the truth is told, there is a danger that the focus is solely on the processes used by the “Frontline” crew to compose their news items. While this perspective offers invaluable opportunities to explore the relevant issues of the elective, you should also consider the manner in which the creators of Frontline compose their own truth. The characterisation, production techniques, perspectives and language devices utilised by Sitch et al. are important to consider in this light. How true is their representation of TV current affairs?
Representing the truth
When Frontline first appeared there was much debate and commentary from the media themselves, congratulating or criticising the representation of their industry. While most saw its value or at least acknowledged the old maxim that imitation is the best form of flattery, others felt targeted and were hostile towards the show. Some observations by the writers, recorded in Frontline The story. . . behind the stories. (Penguin 1995), throw light on this issue:
“People maybe thought that the show was an expose, but it actually wasn't. It really was an observation. People within the industry thought it was an expose because it was so accurate,” said Santo Cilauro. Rob Sitch explained further, “I think that in some ways that's why a few executive producers of current affairs shows reacted with a great sense of indignation. But in actual fact, it wasn't necessarily an attack. To say that it was an attack from our point of view was not right—we were really representing what does go on. And therefore it's trying to sneak out from under the weight of the truth, in a way, to say ‘Oh, you're trying to attack us,' No we're not, we've observed it and we're representing it in a dramatic satirical style, but I think you've got to come to terms with that as the truth, not our opinion.” Lawrie Zion, in his introduction to the book, suggests the first series was a “televisual literacy drive”, in that, although “by the end of 1994 the familiar forms of current affairs shows remained largely unaltered, audiences were becoming wiser to the more obvious tricks like ‘noddies' and ‘walkies', as well as the more general processes that determine the composition of such programs.”
For Further Information
FRONTLINE IMDB http://www.imdb.com/title/tt0108780/
FRONTLINE tv.com http://www.tv.com/frontline-aus/show/4788/summary.html
FRONTLINE Wikipedia http://en.wikipedia.org/wiki/Frontline_(Australian_TV_series)
*** Refer to student textbook for additional information. [The book Frontline includes full scripts, photographs and commentary]
FRONTLINE: the story behind the story ... behind the stories. Penguin, 1995.
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