The Pros and Cons of "Fake" News

"Satire is traditionally the weapon of the powerless against the powerful."

- Molly Ivins

The Pros of News Satire:

• As Molly Ivins said, satire gives us normal people a voice against those whose voices can be overpowering. Without directly attacking anyone, we can criticize and draw attention to issues. 
• Develops a counter discourse, ".... through reversing dominant meanings and accepted usages" (McDonough 2007). 
• Protected under the First Amendment- Shows like the Daily Show are not subject to the same rules that govern Journalism (as long as they declare that they are not a legit news source.) Because of this satire is not upheld to the gold standard of subjectivity, rather they have an incentive and use comedy and irony to distribute it. 
• There is a level of transparency that, "challenges particular notions of truth and journalism," (Networked, pg. 103).  
• Informing journalism by creating a spectacle from which journalists can report. 
• People like comedy and often are learning about events in the news from satirical platforms. Makes news more appealing to the everyday person. 
• "Facilitating new forms of political engagement, " (pg. 103). Forces politicians and corporate officials to address and own up to issues that otherwise would not have been discussed- Creates that relationship and breaks down barriers between public and higher power. 
• Encourages and propels participatory and networked culture as anyone and everyone can create pieces of satire and add their opinion into the pool. 

The Cons of News Satire:

• Satire Blindness: "Indeed, the third law of modern media states that for every moderately important news item published, there will be an obligatory roundup of the funniest Twitter reactions to said news story, generally in slideshow format to maximize clicks," (The Guardian, 2014).

        - In a world where the output of media is basically unsustainable, it can be hard to distinguish "real" news from "fake news," especially with the massive focus on clickbait and eye-catching headlines. 

         - Facebook is testing a [satire] tag in order to make it easier to distinguish. 

• Satire can cross the line from tastefully funny to offensive- as Joe Sacco argues, too much focus can be placed on the spectacle rather than the institutions that have built the spectacle. 
• Discredits the values and tradition of journalism. 

Questions:

• To what extent do you think the "truth" is better represented through satire rather than real news?
• With the integration of fake news into real news outlets, such as Newsweek, there has developed a blurring of lines between news and comedy. Do you think it is ok for that line to be blurred or should each (news and comedy) remain separate?
• Is it better to act outside of journalism as the Yes Men have done or like Colbert, is integration within the journalism world more effective?
• At what point does satire cross the line from funny to offensive?

Other Sources:

http://www.theguardian.com/commentisfree/2014/aug/19/satire-tag-internet-killing-facebook-tag

http://www.theguardian.com/world/ng-interactive/2015/jan/09/joe-sacco-on-satire-a-response-to-the-attacks

References:

Networked A Contemporary History of News in Transition 

The Guardian 

John Oliver: Combating Apathy With Comedy

"Against the assault of laughter, nothing can stand" 

– Mark Twain.

Key Points:

                                             Last Week Tonight With John Oliver

The largest battle of any journalist or journalism outfit has always been to keep the attention of the reader/viewer. Political cartoons were utilized in the 19^th and 20^th centuries to instantly communicate instances of cronyism and corruption to all audiences regardless of education or social status. In 2016, we live in an age where the 24-hour news cycle redundantly dissects superficial topics and where the Internet is always bursting at the seams with new stories and digital content.  Holding a viewers attention has become harder than ever, particularly when the topic is obscure, complicated and nuanced.

John Oliver has the latent ability to capture and maintain peoples attention. He uses comedy as a means for delivering truths on dense, unsexy topics relevant to us all. 

•       A Daily Show Alum
•       John Oliver’s ‘acts of journalism’ were named in the Columbia journalism review assome of the best journalism in 2015
•       “Explainer comedy” model and a spin off of “news anchor satire”
•      "many studies have theorized the social and political value of these programs as tools of resistance" (Russell, 2011).  
•      "Baym argues that satire and parody are effective tools in interrogating power and deconstructing news" (Russell, 2011). 
•     "Relays information in a clear, comedic way that’s easier for viewers to comprehend"(CJR, 2014)
•       Holds the attention of viewers
•       Aggregates many peoples’ reporting to take a broad look at unexciting topics
•       Does not assume viewers have a baseline awareness of current events or issues
•       Devotes extensive time to dense topics (thanks, HBO)

Visuals:

Questions:

How well do you trust the information you receive from "explainer comedy" as opposed to 24-hour news such as CNN, MSNBC or FOX?

Do you think millennials are more receptive/encouraging of this sort of media? Do you see it becoming more popular/integrated into our everyday media landscape as the century marches on?

References:

Swanson, Ana. "The Daily Show Is One of America's Most Trusted News Sources." Washington Post. N.p., 11 Feb. 2015. Web. 28 Apr. 2016.

Uberti, David. "4 Topics John Oliver Explained More Clearly than Television News." Columbia Journalism Review. CJR, 25 Aug. 2014. Web. 28 Apr. 2016.

Russell, Adrienne. Networked: A Contemporary History of News in Transition. Cambridge, UK: Polity, 2011. Print.

Uberti, David. "The Best and Worst Journalism of 2015." Columbia Journalism Review, 8 Dec. 2015. Web. 28 Apr. 2016.

Brody, Ben. "How John Oliver Transformed the Net Neutrality Debate Once and for All." Bloomberg.com. Bloomberg, 26 Feb. 2015. Web. 28 Apr. 2016.

Mejia, Paula. "IRS UNDER MICROSCOPE AFTER JOHN OLIVER TELEVANGELISM SEGMENT." Newsweek.com. NewsWeek, 23 Aug. 2015. Web. 28 Apr. 2016.

Parody and Satire: Meaningless Jokes or Influential Strategies?

“Honestly, when they asked me if I wanted to do it, I had no idea about the news or anything. I don’t read. Now I find out the news through setups we do for jokes”- Jimmy Fallon

Visual:

http://media.gettyimages.com/photos/josh-brolin-episode-1536-pictured-seth-meyers-amy-poehler-governor-picture-id138245225

Key Points:

1. "Satire and parody and effective tools in interrogating power and deconstructing news" (Russell 102). 
• Can be seen as a way out of complying with journalistic standards. Comedy allows people to get away with  saying things that journalists cannot. 
• Using humor to spotlight different issues by incorporating opinions that unbiased media cannot (Leano 88).
2. Satire and parody as a form of critique through imitation (Russell 106). 
• Exposing the fakeness of so-called "real" news by blurring the lines between different genres
3. Both techniques as a contribution to the evolution of journalistic forms and the creation of a space for people to express their opinions (Russell 126). 
4. Parody and satire are becoming increasingly more significant in terms of how we interpret and form opinions about the news and major events/issues. 
5. Both techniques have the power to influence political agenda.
• The 2008 Election skits on Saturday Night Live contributed the widely held negative outlook of Sarah Palin, but also had some responsibility for John McCain's image restoration. The skits helped lead the public to questions the credibility of candidates. 
• The Weekend Update segment was "meant to be a serious voice in the American political landscape and serve an informational purpose", said creator Lorne Michaels (Reincheld 191).
• "Now I find out about the news through setups we do for jokes", said Jimmy Fallon (Reincheld 193).
• "SNL Effect: The shows ability to impact media coverage and promote an agenda at a broader lever (Leano 86).
6. Comedy has an agenda-setting power which has created a shift away from a linear story line to an emphasis on connections with people's backgrounds and beliefs. 
7. Political parodies may be becoming political knowledge. Young adults who watch political parodies are more informed than those who do not. 
8. Parody and satire will continue to become more popular and influential in the media (Leano 88). 

Questions: 

1. Do you think young adults are able to separate political parody from political knowledge and remain unpersuaded by this form of media?
2. How might the ability to access content online increase or decrease the persuasion tactics of parody and satire in recent years?
3. What are some potential concerns that could arise from the public receiving its news from media that use parody and satire? 

References:

 Leano, Jessica. “The Agenda-Setting Power of Saturday Night Live.” The Elon Journal of Undergraduate Research in Communications. 5.1 (2014): 81-89.

Reincheld, Aaron. “Saturday Night Live” and Weekend Update: The Formative Years of Comedy News Dissemination.” Journalism History. 31.4 (2006): 190-97.

Russell, Adrienne. “News Parody, Satire, Remix: When There’s Nothing to Do but Laugh”. In Networked: A Contemporary History of News in Transition. 101-130. Polity Press, 2011. 

Remix, Détournement, and The Yes Men (4/28 Panel)

First of all we think the world must be changed. We want the most liberating change of the society and life in which we find ourselves confined. We know that this change is possible through appropriate actions. -Guy Debord, 1957

Ideas improve. The meaning of words plays a part in that improvement. Plagiarism is necessary. Progress depends on it. It sticks close to an author’s phrasing, exploits his expressions, deletes a false idea, replaces it with the right one. -Guy Debord, 1967

Remix

• Produce new meanings and forms of expression out of cultural artifacts
• Creation of “expressive work that includes elements of a previously created work” (Networked, 105)
• Lawrence Lessig’s RO (read/only) culture versus RW (read/write) culture
• Cultures more comfortable with “simple consumption” versus cultures that add to existing forms through “re-creation” (Lessig, 28)
• Might pertain to particular cultural genres
• Music sampling and video editing

• Might also relate to larger political ideals
• Parody and satire part of remix culture in the form of “fake news”
• Détournement as mid-twentieth-century precursor to remix among the French Situationists

Détourne-what?

• Détournement: “the reuse of preexisting artistic elements in a new ensemble” (Debord, “Détournement,” 55)
• Used by the French Situationists to facilitate the construction of a “situation”
• Political and cultural revolutionaries, disgruntled with inauthentic societal and individual existence shaped by capitalistic ideals and industries
• Individuals as passive “spectators”
• They should be constructive “livers”!
• Sought construction of “situations” wherein they would disrupt the “spectacle” of mass media and representation
• “The construction of situations begins on the ruins of the modern spectacle.” (Debord, “Report,” 25)
• Why is détournement so effective?
• Its power “stems from the double meaning, from the enrichment of most of the terms by the coexistence within them of their old senses and their new, immediate senses…[and it] is practical because it is so easy to use and because of its inexhaustible potential for reuse” (Debord, “Détournement,” 55)
• Copper Greene’s iRaq (2004) in response to Abu Ghraib:

• Lt. John Pike at UC-Davis (2011):

Say “Yes” to the Construction of a Situation!

• The Yes Men
• Jacques Servin (Andy Bichlbaum) and Igor Vamos (Mike Bonanno)
• Professional pranksters
• More to it than just a good prank?
• Complementing mainstream journalism
• How?
• Identity correction: “Impersonating big-time criminals in order to publicly humiliate them, and otherwise giving journalists excuses to cover important issues.” (The Yes Men website)
• Fake New York Times (Networked, 119-121)
• Complete digital version of the issue available here

• SurvivaBalls: “self-contained units that will allow somebody to survive no matter what happens to the climate” (Vamos/Bonanno in The Yes Men are Revolting)
• What the future will look like if leaders don’t come to an agreement to reduce greenhouse gasses!

Professional Prankster? How Do You Get That Job?!

• The Yes Lab
• “At the moment, the Yes Lab is mainly a series of brainstorms and trainings to help activist groups carry out media-getting creative actions, focused on their own campaign goals. It’s a way for social justice organizations to take advantage of all that we Yes Men have learned – not only about our own ways of doing things, but those we’ve come in contact with over the decade and a half we’ve been doing this sort of thing.” (“About,” Yes Lab website)
• New York University’s Hemispheric Institute of Performance and Politics
• Let’s Give it a Try:
• “This College Student Was Kicked Off a Flight Because He Speaks Arabic. He’s Not the Only One.” (4/22/16)
• Southwest Press Release

Discussion

These types of creative and humorous actions can be rather alluring, given their nature and their entertaining/amusing qualities, so we’re (typically) more likely to side with them. But, I’d like for us to take a step back and ask how they might be ineffective or problematic attempts at reform.

Source Material

Read:

• Debord, Guy. “Détournement as Negation and Prelude.” In Situationist International Anthology, edited and translated by Ken Knabb, 55-56. California: Bureau of Public Secrets, 1981; free electronic version of entire anthology available here.
• Debord, Guy. “Report on the Construction of Situations and on the International Situationist Tendency’s Conditions of Organization and Action.” In Situationist International Anthology, edited and translated by Ken Knabb, 17-25. California: Bureau of Public Secrets, 1981; free electronic version of entire anthology available here.
• Debord, Guy. The Society of the Spectacle. Translated by Ken Knabb. California: Bureau of Public Secrets, 2014; free electronic version available here.
• Jardin, Xeni. “The pepper-spraying cop gets Photoshop justice.” The Guardian, November 23, 2011. Accessed April 27, 2016. http://www.theguardian.com/commentisfree/2011/nov/23/pepper-spraying-cop-photoshop-justice.
• Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid Economy. New York: Penguin Books, 2009.
• Schatz, Bryan. “This College Student Was Kicked Off a Flight Because He Speaks Arabic. He’s Not the Only One.” Mother Jones, April 22, 2016. Accessed April 23, 2016. http://www.motherjones.com/politics/2016/04/iraq-refugee-airplane-southwest-arabic.

Listen:

• Girl Talk (free downloads here; Feed the Animals is particularly fun)

Watch:

• Pitch Perfect (2012)
• The Yes Men are Revolting (2014); currently free through Amazon Prime!

Websites to Skim:

• http://theyesmen.org/ (The Yes Men website; currently down as of 4/27/16)
• http://yeslab.org/ (Yes Lab website)

Quoted material under title image from "Report on the Construction of Situations and on the International Situationist Tendency’s Conditions of Organization and Action" and The Society of the Spectacle (Thesis 207), respectively.