Power Without Guidelines Governs the Strongest Communication Channel
In the 1960s, the publication of Berger and Luckmann's seminal work, "The Social Construction of Reality: A Treatise in the Sociology of Knowledge," shed light on the relationship between media and the maintenance of beliefs. Fast forward to the present day, and this connection is more relevant than ever, as the influence of screens on American society has undergone a dramatic transformation.
MIT Open Learning's Dr. Henry Jenkins, a renowned media scholar and the founder of Intelligent Television, has been at the forefront of this conversation. In his book, "The Moving Image: A User's Manual," Jenkins explores how the proliferation and ubiquity of screens have reshaped the cultural and social landscape of the United States.
In the mid-to-late 20th century, the typical American household owned one or two televisions. Today, the average household boasts about 17 connected screens, a number projected to rise to 20 by the end of 2025. This surge in screens, encompassing TVs, desktops, laptops, tablets, mobile phones, and game systems, has made moving images and their messages omnipresent.
The influence of screens has also become more pervasive and fragmented, with content delivered across multiple platforms and devices. This shift has greatly expanded the reach and speed at which ideas and ideologies are spread. For instance, during the 2024 U.S. elections, over $12 billion was spent on political advertising, with television remaining a major channel for swaying public opinion.
The author argues that contemporary "reality" is largely constructed and often determined by what appears on screen. The messages and ideologies conveyed through moving images influence not just entertainment and commerce, but also politics and public opinion. This evolution from gatekeeper to omnipresent influence has led to a society where collective consciousness is increasingly shaped by digital media, sometimes to the point of what Jenkins terms a "TV-led and TV-fed collective psychosis."
Jenkins advocates for a more systematic approach to video production, distribution, and preservation to address the thicket of unreality created by modern media technologies. He suggests the need for an "Elements of Style" for video, akin to the "Chicago Manual" and "AP Stylebook" for written media, an automated citation generator for video platforms, a video Wikipedia, and systems of clicking through web-based programming to verify facts and provenance.
As we navigate this new media landscape, it is crucial to recognise and address the power that the moving image, born in 1895, has on our thinking and framing of reality. Jenkins encourages us to explore how to wean ourselves away from dependencies on companies that operate outside the public interest and take advantage of new channels and platforms for responsible video production, distribution, and preservation.
In a world where reality and illusion often blur, Jenkins' work serves as a reminder of the importance of critical analysis and the need for ethical practices in video production and consumption. As we continue to grapple with the challenges of making video a truth-telling medium, his insights offer a valuable starting point for informed discussion and action.
- Dr. Henry Jenkins, in his book "The Moving Image: A User's Manual," discusses how technology, through the proliferation of screens, has expanded beyond entertainment and commerce, influencing education-and-self-development, politics, and general-news.
- Jenkins advocates for the application of ethical practices in video production and consumption, as technology has shifted media from being a gatekeeper to an omnipresent influence, shaping collective consciousness to the point of a "TV-led and TV-fed collective psychosis."
