Amusing Ourselves to Death Page 11

  To say it still another way: Entertainment is the supra-ideology of all discourse on television. No matter what is depicted or from what point of view, the overarching presumption is that it is there for our amusement and pleasure. That is why even on news shows which provide us daily with fragments of tragedy and barbarism, we are urged by the newscasters to “join them tomorrow.” What for? One would think that several minutes of murder and mayhem would suffice as material for a month of sleepless nights. We accept the newscasters’ invitation because we know that the “news” is not to be taken seriously, that it is all in fun, so to say. Everything about a news show tells us this—the good looks and amiability of the cast, their pleasant banter, the exciting music that opens and closes the show, the vivid film footage, the attractive commercials—all these and more suggest that what we have just seen is no cause for weeping. A news show, to put it plainly, is a format for entertainment, not for education, reflection or catharsis. And we must not judge too harshly those who have framed it in this way. They are not assembling the news to be read, or broadcasting it to be heard. They are televising the news to be seen. They must follow where their medium leads. There is no conspiracy here, no lack of intelligence, only a straightforward recognition that “good television” has little to do with what is “good” about exposition or other forms of verbal communication but everything to do with what the pictorial images look like.

  I should like to illustrate this point by offering the case of the eighty-minute discussion provided by the ABC network on November 20, 1983, following its controversial movie The Day After. Though the memory of this telecast has receded for most, I choose this case because, clearly, here was television taking its most “serious” and “responsible” stance. Everything that made up this broadcast recommended it as a critical test of television’s capacity to depart from an entertainment mode and rise to the level of public instruction. In the first place, the subject was the possibility of a nuclear holocaust. Second, the film itself had been attacked by several influential bodies politic, including the Reverend Jerry Falwell’s Moral Majority. Thus, it was important that the network display television’s value and serious intentions as a medium of information and coherent discourse. Third, on the program itself no musical theme was used as background—a significant point since almost all television programs are embedded in music, which helps to tell the audience what emotions are to be called forth. This is a standard theatrical device, and its absence on television is always ominous. Fourth, there were no commercials during the discussion, thus elevating the tone of the event to the state of reverence usually reserved for the funerals of assassinated Presidents. And finally, the participants included Henry Kissinger, Robert McNamara, and Elie Wiesel, each of whom is a symbol of sorts of serious discourse. Although Kissinger, somewhat later, made an appearance on the hit show “Dynasty,” he was then and still is a paradigm of intellectual sobriety; and Wiesel, practically a walking metaphor of social conscience. Indeed, the other members of the cast—Carl Sagan, William Buckley and General Brent Scowcroft—are, each in his way, men of intellectual bearing who are not expected to participate in trivial public matters.

  The program began with Ted Koppel, master of ceremonies, so to speak, indicating that what followed was not intended to be a debate but a discussion. And so those who are interested in philosophies of discourse had an excellent opportunity to observe what serious television means by the word “discussion.” Here is what it means: Each of six men was given approximately five minutes to say something about the subject. There was, however, no agreement on exactly what the subject was, and no one felt obliged to respond to anything anyone else said. In fact, it would have been difficult to do so, since the participants were called upon seriatim, as if they were finalists in a beauty contest, each being given his share of minutes in front of the camera. Thus, if Mr. Wiesel, who was called upon last, had a response to Mr. Buckley, who was called upon first, there would have been four commentaries in between, occupying about twenty minutes, so that the audience (if not Mr. Wiesel himself) would have had difficulty remembering the argument which prompted his response. In fact, the participants—most of whom were no strangers to television—largely avoided addressing each other’s points. They used their initial minutes and then their subsequent ones to intimate their position or give an impression. Dr. Kissinger, for example, seemed intent on making viewers feel sorry that he was no longer their Secretary of State by reminding everyone of books he had once written, proposals he had once made, and negotiations he had once conducted. Mr. McNamara informed the audience that he had eaten lunch in Germany that very afternoon, and went on to say that he had at least fifteen proposals to reduce nuclear arms. One would have thought that the discussion would turn on this issue, but the others seemed about as interested in it as they were in what he had for lunch in Germany. (Later, he took the initiative to mention three of his proposals but they were not discussed.) Elie Wiesel, in a series of quasi-parables and paradoxes, stressed the tragic nature of the human condition, but because he did not have the time to provide a context for his remarks, he seemed quixotic and confused, conveying an impression of an itinerant rabbi who has wandered into a coven of Gentiles.

  In other words, this was no discussion as we normally use the word. Even when the “discussion” period began, there were no arguments or counterarguments, no scrutiny of assumptions, no explanations, no elaborations, no definitions. Carl Sagan made, in my opinion, the most coherent statement—a four-minute rationale for a nuclear freeze—but it contained at least two questionable assumptions and was not carefully examined. Apparently, no one wanted to take time from his own few minutes to call attention to someone else’s. Mr. Koppel, for his part, felt obliged to keep the “show” moving, and though he occasionally pursued what he discerned as a line of thought, he was more concerned to give each man his fair allotment of time.

  But it is not time constraints alone that produce such fragmented and discontinuous language. When a television show is in process, it is very nearly impermissible to say, “Let me think about that” or “I don’t know” or “What do you mean when you say ... ?” or “From what sources does your information come?” This type of discourse not only slows down the tempo of the show but creates the impression of uncertainty or lack of finish. It tends to reveal people in the act of thinking, which is as disconcerting and boring on television as it is on a Las Vegas stage. Thinking does not play well on television, a fact that television directors discovered long ago. There is not much to see in it. It is, in a phrase, not a performing art. But television demands a performing art, and so what the ABC network gave us was a picture of men of sophisticated verbal skills and political understanding being brought to heel by a medium that requires them to fashion performances rather than ideas. Which accounts for why the eighty minutes were very entertaining, in the way of a Samuel Beckett play: The intimations of gravity hung heavy, the meaning passeth all understanding. The performances, of course, were highly professional. Sagan abjured the turtle-neck sweater in which he starred when he did “Cosmos.” He even had his hair cut for the event. His part was that of the logical scientist speaking in behalf of the planet. It is to be doubted that Paul Newman could have done better in the role, although Leonard Nimoy might have. Scowcroft was suitably military in his bearing—terse and distant, the unbreakable defender of national security. Kissinger, as always, was superb in the part of the knowing world statesman, weary of the sheer responsibility of keeping disaster at bay. Koppel played to perfection the part of a moderator, pretending, as it were, that he was sorting out ideas while, in fact, he was merely directing the performances. At the end, one could only applaud those performances, which is what a good television program always aims to achieve; that is to say, applause, not reflection.

  I do not say categorically that it is impossible to use television as a carrier of coherent language or thought in process. William Buckley’s own program, “Firing Line,” oc
casionally shows people in the act of thinking but who also happen to have television cameras pointed at them. There are other programs, such as “Meet the Press” or “The Open Mind,” which clearly strive to maintain a sense of intellectual decorum and typographic tradition, but they are scheduled so that they do not compete with programs of great visual interest, since otherwise, they will not be watched. After all, it is not unheard of that a format will occasionally go against the bias of its medium. For example, the most popular radio program of the early 1940’s featured a ventriloquist, and in those days, I heard more than once the feet of a tap dancer on the “Major Bowes’ Amateur Hour.” (Indeed, if I am not mistaken, he even once featured a pantomimist.) But ventriloquism, dancing and mime do not play well on radio, just as sustained, complex talk does not play well on television. It can be made to play tolerably well if only one camera is used and the visual image is kept constant—as when the President gives a speech. But this is not television at its best, and it is not television that most people will choose to watch. The single most important fact about television is that people watch it, which is why it is called “television. ”And what they watch, and like to watch, are moving pictures—millions of them, of short duration and dynamic variety. It is in the nature of the medium that it must suppress the content of ideas in order to accommodate the requirements of visual interest; that is to say, to accommodate the values of show business.

  Film, records and radio (now that it is an adjunct of the music industry) are, of course, equally devoted to entertaining the culture, and their effects in altering the style of American discourse are not insignificant. But television is different because it encompasses all forms of discourse. No one goes to a movie to find out about government policy or the latest scientific advances. No one buys a record to find out the baseball scores or the weather or the latest murder. No one turns on radio anymore for soap operas or a presidential address (if a television set is at hand). But everyone goes to television for all these things and more, which is why television resonates so powerfully throughout the culture. Television is our culture’s principal mode of knowing about itself. Therefore—and this is the critical point—how television stages the world becomes the model for how the world is properly to be staged. It is not merely that on the television screen entertainment is the metaphor for all discourse. It is that off the screen the same metaphor prevails. As typography once dictated the style of conducting politics, religion, business, education, law and other important social matters, television now takes command. In courtrooms, classrooms, operating rooms, board rooms, churches and even airplanes, Americans no longer talk to each other, they entertain each other. They do not exchange ideas; they exchange images. They do not argue with propositions; they argue with good looks, celebrities and commercials. For the message of television as metaphor is not only that all the world is a stage but that the stage is located in Las Vegas, Nevada.

  In Chicago, for example, the Reverend Greg Sakowicz, a Roman Catholic priest, mixes his religious teaching with rock ’n’ roll music. According to the Associated Press, the Reverend Sakowicz is both an associate pastor at the Church of the Holy Spirit in Schaumberg (a suburb of Chicago) and a disc jockey at WKQX. On his show, “The Journey Inward,” Father Sakowicz chats in soft tones about such topics as family relationships or commitment, and interposes his sermons with “the sound of Billboard’s Top 10.” He says that his preaching is not done “in a churchy way,” and adds, “You don’t have to be boring in order to be holy.”

  Meanwhile in New York City at St. Patrick’s Cathedral, Father John J. O‘Connor put on a New York Yankee baseball cap as he mugged his way through his installation as Archbishop of the New York Archdiocese. He got off some excellent gags, at least one of which was specifically directed at Mayor Edward Koch, who was a member of his audience; that is to say, he was a congregant. At his next public performance, the new archbishop donned a New York Mets baseball cap. These events were, of course, televised, and were vastly entertaining, largely because Archbishop (now Cardinal) O’Connor has gone Father Sakowicz one better: Whereas the latter believes that you don’t have to be boring to be holy, the former apparently believes you don’t have to be holy at all.

  In Phoenix, Arizona, Dr. Edward Dietrich performed triple bypass surgery on Bernard Schuler. The operation was successful, which was nice for Mr. Schuler. It was also on television, which was nice for America. The operation was carried by at least fifty television stations in the United States, and also by the British Broadcasting Corporation. A two-man panel of narrators (a play-by-play and color man, so to speak) kept viewers informed about what they were seeing. It was not clear as to why this event was televised, but it resulted in transforming both Dr. Dietrich and Mr. Schuler’s chest into celebrities. Perhaps because he has seen too many doctor shows on television, Mr. Schuler was uncommonly confident about the outcome of his surgery. “There is no way in hell they are going to lose me on live TV,” he said.2

  As reported with great enthusiasm by both WCBS-TV and WNBC-TV in 1984, the Philadelphia public schools have embarked on an experiment in which children will have their curriculum sung to them. Wearing Walkman equipment, students were shown listening to rock music whose lyrics were about the eight parts of speech. Mr. Jocko Henderson, who thought of this idea, is planning to delight students further by subjecting mathematics and history, as well as English, to the rigors of a rock music format. In fact, this is not Mr. Henderson’s idea at all. It was pioneered by the Children’s Television Workshop, whose television show “Sesame Street” is an expensive illustration of the idea that education is indistinguishable from entertainment. Nonetheless, Mr. Henderson has a point in his favor. Whereas “Sesame Street” merely attempts to make learning to read a form of light entertainment, the Philadelphia experiment aims to make the classroom itself into a rock concert.

  In New Bedford, Massachusetts, a rape trial was televised, to the delight of audiences who could barely tell the difference between the trial and their favorite mid-day soap opera. In Florida, trials of varying degrees of seriousness, including murder, are regularly televised and are considered to be more entertaining than most fictional courtroom dramas. All of this is done in the interests of “public education.” For the same high purpose, plans are afoot, it is rumored, to televise confessionals. To be called “Secrets of the Confessional Box,” the program will, of course, carry the warning that some of its material may be offensive to children and therefore parental guidance is suggested.

  On a United Airlines flight from Chicago to Vancouver, a stewardess announces that its passengers will play a game. The passenger with the most credit cards will win a bottle of champagne. A man from Boston with twelve credit cards wins. A second game requires the passengers to guess the collective age of the cabin crew. A man from Chicago guesses 128, and wins another bottle of wine. During the second game, the air turns choppy and the Fasten Seat Belt sign goes on. Very few people notice, least of all the cabin crew, who keep up a steady flow of gags on the intercom. When the plane reaches its destination, everyone seems to agree that it’s fun to fly from Chicago to Vancouver.

  On February 7, 1985, The New York Times reported that Professor Charles Pine of Rutgers University (Newark campus) was named Professor of the Year by the Council for the Support and Advancement of Education. In explaining why he has such a great impact on his students, Professor Pine said: “I have some gimmicks I use all the time. If you reach the end of the blackboard, I keep writing on the wall. It always gets a laugh. The way I show what a glass molecule does is to run over to one wall and bounce off it, and run over to the other wall.” His students are, perhaps, too young to recall that James Cagney used this “molecule move” to great effect in Yankee Doodle Dandy. If I am not mistaken, Donald O’Connor duplicated it in Singin’ in the Rain. So far as I know, it has been used only once before in a classroom: Hegel tried it several times in demonstrating how the dialectical method works.

  The Pe
nnsylvania Amish try to live in isolation from mainstream American culture. Among other things, their religion opposes the veneration of graven images, which means that the Amish are forbidden to see movies or to be photographed. But apparently their religion has not got around to disallowing seeing movies when they are being photographed. In the summer of 1984, for example, a Paramount Pictures crew descended upon Lancaster County to film the movie Witness, which is about a detective, played by Harrison Ford, who falls in love with an Amish woman. Although the Amish were warned by their church not to interfere with the film makers, it turned out that some Amish welders ran to see the action as soon as their work was done. Other devouts lay in the grass some distance away, and looked down on the set with binoculars. “We read about the movie in the paper,” said an Amish woman. “The kids even cut out Harrison Ford’s picture.” She added: “But it doesn’t really matter that much to them. Somebody told us he was in Star Wars but that doesn’t mean anything to us.” 3 The last time a similar conclusion was drawn was when the executive director of the American Association of Blacksmiths remarked that he had read about the automobile but that he was convinced it would have no consequences for the future of his organization.