This is not the propagandist’s aim. For him the validity of an image must be measured not by the degree of its fidelity, but by the response it may evoke. If it will induce the action he wishes, its fidelity is high; if not, low. … The standard that he uses in choosing the images to be disseminated — his “truths” — would be a scale based on the range of possible human responses to an image. His criterion thus is established on the basis of overt action.At first this made me think about journalism, and how it might fit Choukas’ definition of propaganda. Then it made me think about how we might confine the study of propaganda to a harmless subset of human story-telling. That’s when sports jumped to mind. Sports are almost entirely narrative. They also have, as social phenomena go, less importance outside themselves than such highly fraught concerns as politics, religion and business. To the cynic, sports are Kurt Vonnegut‘s foma: “harmless untruths, intended to comfort simple souls…Live by the foma that make you brave and kind and healthy and happy.” Yes, sports are more than that, but my soul at its simplest is a fan of the Mets. (And, less simply, a fan of the Red Sox.) Likewise, among my least productive time is spent listening to sports talk radio — unless I count as valuable the communing of my simplest self with the souls of others who share the same mostly-harmless affections. But how much more productive is the time I spend listening to NPR, or reading The New York Times?
To see where I’m going here, lets unpack “harmless untruths” into a 2×2: Foma are in the lower right. Whether the subject is sports or something else, that seems like a good corner in which to study propaganda. Sports journalism escapes the foma classification by being about Truth, or at least about facts. But that’s beside my point, which is that interests, talk and reporting about sports all moves toward effects, which happen to be mostly harmless. Look at the photos that accompany a sports story. If a team wins, the star player is shown making a great kick, throw, shot or whatever. Or maybe just smiling. If the same team loses, the picture shows the same player messing up or frowning. Never mind that the game was close, or that the photo is of one moment among zillions of others. The entire meaning of the photo is narrative. Its entire purpose is effect, which is both to serve and drive the interests of the reader, the viewer, the listener. What’s that say about journalism as a whole? The most demanding three words uttered by assignment editors at newspapers are these: What’s the story? As a reporter I learned that stories are pretty much all that most of us care about. They are, it has been suggested (and I will suggest again), the main format of human interest. That format, I was taught, has three elements:
- A protagonist, or character. This might be a person, a team, a cause or some other entity the reader, listener or viewer cares about. This character need only be interesting. Likability is a secondary matter.
- A problem or challenge, This needs to be a situation that keeps the reader interested: tuned in or turning pages. (Classic edtorial instruction: “No story starts with ‘happily ever after.’”) In fact, it helps if the situation gets worse, so long as we have…
- Movement toward a resolution. If the war is over, or the home team is up or down by forty points with three minutes left, the challenge vanishes. If you’re at the game, what matters most now is beating traffic out of the parking lot.
- The Market for Explainables and What’s right with Wikipedia, by yours truly.
- News withuout the narrative needed to make sense of the news: what I will say at South By Southwest, by @JayRosen_NYU.