Current Forum: Session 3: Ideology	Read 4 times 	
Date: 29-Jan-2001 22:19:43	
Author: GIBSON, JASON M. <jmg0970@garnet.acns.fsu.edu>	
Subject: Some thoughts . . . on Truman 	
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       When approaching The Truman Show in an Ideological manner one is forced to look at it in 
two ways: first the ideology given in the film, second by seeing how that film operates as an 
ideological apparatus. Narratively, the film offers us a constructed world in which every individual except one, Truman, is involved with creating the world, though I imagine that one 
can argue that Truman by participating in that world is involved with its construction. Thus, I must modify this statement to include ‘a knowledge’ of its construction. 
       Weir and Niccol present Truman as and individual who lives what he perceives to be a normal life. What the narrative establishes, for us the viewer, is that this life is constructed 
purely for entertainment purposes, evoking a sense of reality if only through the main character (Truman). Around this reality lies the construction, complete with common assumptions from 
Capra cinema (see Richard Porton’s article: The Truman Show (motion picture review), Cineaste v. 23 no4 (1998), and well placed commercials meant to be seamless in their approach. This takes the form of the ideal suburban setting (the perfect house on the perfect street with the perfect neighbors, all elements of the mise-en-scene worth noting) with the ideal married couple: Truman an insurance salesman, and Meryl a nurse at the local hospital. 
       Several times throughout the film the viewer is presented with Truman’s simple greeting, “Good morning . . . good afternoon, good evening, and good night . . .,” after which he gets into his sedan and proceeds along a usual path to work. The camera establishes several common shots that are used consistently to develop this pattern. More specifically we are given a series of point of view shots that do so. The first POV is from the neighbors (across the way) who are viewing Truman. The shot is an iris shot, thus framing Truman, establishing him as the star (for 

both the viewers in the film and those watching Weir’s production). Next, we see Truman’s POV of the neighbors, then Truman is hailed by his next-door neighbor signaling his next POV. From there we get the trash-can camera (used as the old man’s POV). The final two POVs are from Truman and the Dog. To what affect does this have on both of the viewers? First I have noted that it helps to establish Truman as the star. However, I point to the fact that this serves to indoctrinate the viewers into the nature of the entire film (and TV series), that is the narrative being about individuals and their lives: from their perspective. Of course, the POV of most importance is Truman’s. 
       These ideas help to develop the ideology of Truman’s world, one of repetition and consistency. As is shown through out the film, it is through this monotony that Christof controls 
Truman. Every aspect of his life is regulated. The actors within the world of Seahaven all serve as some sort of ideological apparatus. His wife and mother serve as family ISA’s. Where as they both are costumed in a typical feminine and nurturing fashion (Meryl as both homemaker and nurse). Truman’s best friend Marlon falls into this category but from a different perspective. Through manipulation of their friendship, Marlon convinces Truman of his position in the 
world. We see this in several places: when they are playing golf on the incomplete bridge, when they are at the beach, and when Truman attacks Meryl. Each person in Truman’s life attempts to persuade him of his place in the world (namely, that Sea Haven is the only place to be). His teacher pulls down a map and tells him that the world has been completely explored (school ISA). From birth Christof has fed Truman his reality, even to the point of obverting any attempt to break away. This we see with the police officers (RSA’s) and other local governmental agencies. It can be said that the biggest RSA is Christof himself, for he controls the physical world of Truman. 
       Through careful manipulation of cinematic, as well as, pragmatic techniques Christof accomplishes his omnipotence. The actors are all carefully coordinated (blocking), the setting is set at each moment (first position for the start of the day). The movie set of Truman’s world is complete with sophisticated lighting (the change of day and ambient lighting) and special effects meant to look real (the weather).
       For the viewing audience (Weir’s production) The Truman Show presents an interesting perspective on reality TV. We are given both Truman’s reality and that of his viewing audience. The film attempts to suggest that we are all living in a specific ideology that is controlled by some omnipotent figure. At the same time it tries to critic the media and the viewing public. Our relationship with Truman’s audience is developed from the TV’s point of view. We only see them as they are watching the TV, or more directly watching Truman (or us if you would care to 
venture there). Weir places the most mediocre of individuals in front of us. It attempts to suggest that by only the most simple of minds (the bar, the security guards, and the man in the tub) watch this sort of TV. It also seems to imply that middle class America is dominated by the media. So on one level the Truman show critiques the media and on another it critiques the viewers. Although highly suggestive in terms of ideology and ‘big brother,’ the viewer finds that the film falls short of any true commentary on either. Nonetheless, it does serve as a good example of ideology being of a constructed nature.