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Daytime Television: A View of Oprah & Cops as Confessional Apparatuses
The oral-technological operation of confession, as it is executed in first-person discourse in TV shows such as Oprah and Cops, is reflective of binaries regarding power and pleasure which requires a positioning of the person or "guest star" as subject (on the show) for the viewer to exert administering patterns of scrutiny and categorization. The main subject of the TV show and viewer (also a difference in "live-studio audience" viewership versus being situated in front of a TV) equally participate in a culturally-specific confessing arena. Confession, as spectacle, is also exclusive to the space in which it occurs in; the tight ventilation of a confessional booth in a Catholic church versus an accessible, vast, and participatory production studio, such as Oprah's Harpo Productions or the selective "on-site" geographical (usually economically down-trodden) pockets of America portrayed in Cops. "...Social and spatial operations of the TV set [...] focuses attention on the ways in which the audiovisual and material forms of TV blend with the social conventions and power structures of its locale." (McCarthy, 2) Spatial (in terms of location, audience, and live performace in which the first-person discourse is contained and captured) difference between Oprah and Cops effects their contextual, and therefore, confessional scripts and modes of "confessional production." While both are "on-site" or on location, Oprah's studio audience is fixed in Chicago, while Cops exploits an array of "moral truths" via cinema verite, in an attempt to stir, anticipate, and capture acts of misdemeanor. "The term site-specific is generally used to describe a certain genre of installation art-work designed solely for a particular place or institution, work that cannot be transplanted elsewhere." (ibid) In turn, the ritual or commodity of confession (generated and framed by TV production and it serving as a filter to execute certain modes of confessional styles and not forgetting the costs for airtime) is subject to site-specificity since the confessional gesture is pre-determined, installed, and made available for distribution, which, in part of the viewer, can be interpreted as being "heterotopical" (in another place or medically, a collection of normal neurons in abnormal locations) depending on the location and etiquette of the confessional venue. "There are also, probably in every civilization, real places-places that do exist and that are formed in the very founding of society[...]all the other real sites that can be found within culture, are simultaneously represented, contested, inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect and speak about, I shall call them[...] heterotopias. I believe that between utopias and these quite other sites, these heterotopias, there might be a sort of mixed, joint experience, which would be the mirror." (Foucault. 1967) Analogous to a mirror is that of a TV screen, in which the viewer too, can reference parts of his/her self through the actions and/or "faults" of the first-person subject on the TV show. Foucault then goes on to compare the mirror, in relation to his position in front of it, as a "virtual space that opens up behind the surface; I am over there, there where I am not[...] but it is also a heterotopia insofar as the mirror does exist in reality, where it exerts a sort of counteraction on the position I occupy." (ibid) It can then be said that Oprah and Cops, in their differences and similarities, unfolds permutations of confessionalism through a subject (or messenger) which mediates (or unknowingly relays) culturally specific moral codes to the viewer (be it on studio location, home, or public space). They also provide a means to examine how the audience and featured guest or "sacrificial lamb" are mutual receptors of obtaining pleasures from effects of power, revealing that confession as spectacle, when appropriated into a culturally specific currency of power and pleasure, provides a rate of exchange between subject and viewer and how both are equally participating in the particulars of a moral code. Apart from confession being "an enclosed , private process, crucially secret and therefore immune from any democratizing possibilities of open speech in the 'public sphere', [it serves] as an open de-ritualized [arena]." (Dovey, 107) Oprah and Cops (which I consider TV utopias in their own right) stages and administers two different types of "utopian-confession." One being that the first-person subject, or lets just say person, has made the choice to seek and objectify his/her absolution through affirmation or negation of a public, and the latter being caught red handed to the extent of self-reflexive parody. Oprah and Cops, as logos or doctrines (both TV shows which provide instances of speaking) will be viewed in their productions of"utopian-confessionalism" and the way in which the first-person speaker is subject to the workings of dominant power interests behind the veil of self-empowerment.
Confession, with regard to TV that has an ability to frame, produce, reproduce, and endlessly generate commodifiable emotional states is divided by episodes or simply, time slots. One example is the apparition-esque appearance of Britney Spears on the syndicated Oprah Winfrey show on February 4, 2002. A young woman wrote to Oprah stating that it was her dream to meet Britney Spears after having gone to several of her concerts in every attempt to meet her. Oprah meets the young woman backstage, greets her to the light-hearted and literal reaction of "you white girls all look the same" and leads her to the main stage where an audience awaits in a bright cascade of studio lighting as though descending through clouds above, praises stapled upon the atmosphere in a thunder of clapping until they are standing, in camaraderie, at the center of the stage. Oprah then reveals, with her hands at the center of her chest, the "original" (as though handwritten) letter of the young woman pleading for Oprah to perform the miracle of Britney Spears to appear. The woman's words are read aloud by Oprah as though one of the criteria's to make Britney appear is if the plea were first released out onto the public to gain an inevitable stamp of approval, as the crowd too, desires it for themselves. Part of what evokes the bargaining gesture to be categorized as a "confessional" one, is that the woman begins to cry during the recitation of her letter. It is unclear to the viewer as to why she is crying, perhaps a montage of various registers: excitement, happiness, embarrassment that Oprah is reading her letter aloud, anxiety, not any singular drive that could stand solidly on its own. Perhaps no one will really know except herself. The woman, as a subject to be scrutinized and/or empathized within the gaze of the audience and Oprah (as a sign and/or organizing persona/replica of omniscience), exerts an ecstatic reconciliation of her fantasies coming to life and in the flesh through a more or less poetic and inarticulate code; that which is quantified and mediated through her tears within the confessional ring.
The woman has become subject to a tripartite relationship between power, pleasure and confession. The role of confession serves as a tool or mode of the Greek root techne for the former drives to be commanded in such a way within the confessional container, be it in a booth, closet, or TV show. In the case of Socrates who ironically saw the operation of techne or technology as a threat to order and Aristotle who viewed it as a human imperfection in an attempt to imitate nature, both interpretations of techne are applicable when assuming that the act of confession (derived from its Christian DNA) is on the brink, if not already a commodity of technological expression within TV production. Confession, as a televised working (socio-political) currency which requires production, and not metonymical, sets a specific tone and atmosphere for discourse to emerge between the talk show host, subject, and viewer. "Talk shows not only promote conversation and debate, they break down the distance between the audience stage." (Shattuc, 171) However, the distance between stage, audience, and outside viewing also speaks to the lack of distinctions between them. "They elicit common sense and everyday experience as marks of truth." (ibid) The tight circuit between subject and viewer is needed in order for common problem-solving and solutions to be made, problems which are relevant to themselves, including the viewer, in which the subject serves as an epicenter for the discourse to emerge. In regard to typical daytime shows that "... do not discuss specific governmental institutions, they are clear debates about the public sphere's growing intercession into the family, the home, and the regulation of the individual body," Shattuc privileges Oprah to the extent that her program "privileges process over a single truth or closure." (173) With the lack of distance between audience and stage and the value of "process" (perhaps also motivated by confession as an apparatus to link all three) considered as an ultimate approach to problem solving, certain moral codes also seem to be exclusive in that it caters to a specific 'species' of participants or viewership, and therefore, thrusting a pedagogy of "Oprahism" (also now being aware of creating neologisms as a potential drive for power in the act of naming), which is then returned to the subject and viewer as a mark of pleasure/empowerment or as a purple ribbon of open-ended reconciliation. "For Foucault, 'speaking out', naming, confessing, are part of a 'perpetual spiral or power and pleasure'." (Dovey, 106) In relation to this specific power drive executed within/through language, it is clearly executed in the baptismal fountain of identity-politics on the Oprah set. "The ubiquitous guest labels or "I.D's" (in production parlance) underline the social representativeness of the guests[...] The labeling offers a popularized version of the logic of identity politics, which attempts to break down the hegemonic notion of homogeneity or that "we are all one." (Shattuc, 174) However, although a hegemonic breakdown seems to appear on the surface, they collectively and literally wear their problems on their sleeves as labels, as in "a mother who wants to give away her violent child" (ibid), making them distinct individuals within the overall Oprah arena of "process" based discourse. If the label is a sign of individuality, then there is automatically a concern for where such a confession is taking place if self-identification is already in debt to the daytime talk show as a potential producer of identity in itself. However, individuals which actively participate and adhere to "process" oriented problem solving and to the identity-politic taking place, Oprah (also as an ideology) would inevitably be a source of self-empowerment, since part of the nature of a self-sustaining TV production is that it must maintain its own creed in order to build trust from its viewers and participants, hence, a self-reflexive flow of continuity provided by the entirety of the utopian-production. Power interest may have begun in a linguistic impulse to name and categorize, which is partially what the Oprah Winfrey show promotes on the flip-side, if an audience member claimed "Don't tell me how to feel. I am my experience." (178) Yes, one can claim to own how one feels, however, its a question of "owning" and "feeling" within a site-specific discourse in which it takes place inside of and to what extent an audience member is critical about what exactly it is that they "own" and "feel". Perhaps if society (or TV society) were truly self-empowered, there would be no need for daytime talk shows to imitate the need or seek it, but instead, realize it within themselves in a place where there'd be no need to display it under scrutiny or categorization if the empowerment could occur anywhere, far removed from any mediated gaze and more often in each others eyes, and where there'd no longer be a need to evaluate and affirm the "I" in relation to "experience" if it were simply lived without having to create a spectacle of it.
A 2003 episode of Cops begins with a few police officers gathered in a tattered office station in awe of a bicycle manufactured by Mercedes Benz in which they, as though playfully, make their way into a low-income pocket of America to implant the bicycle as bait on a sidewalk in a mostly Hispanic neighborhood. A middle-aged Hispanic male sees the bicycle leaning against a wall and decides to "go for a ride" in which he is already being studied by several positions: the hand-held camera, cops, producers, entire camera crew, and TV viewers. Not long after riding around a parking lot for roughly twenty minutes, it is as though a conglomeration of all the mentioned viewing positions rushed towards the man (as though a sale in a department store erupted where doors break open) through an artifice of rugged cinema verite convention. He is then man-handled and questioned for taking the bicycle in which he responds to the honest effect of "I took it because it was there." His "confession" is one that is pre-ordained, plotted, and provoked; the "scene of the crime" is staged in order for a discourse of confession to emerge which will then be used as a currency to buy him time if he admits to it. His confessing-subjectivity is clearly displayed as a mantle-piece or plaything on the altar of male policing while the cops themselves do not know how to gauge the honesty of his "petty theft." Moreover, the staging of the crime is self-reflexive and (ready) made available for anyone in the neighborhood to find himself trapped in the "interactive-installation." Participation in the pre-determination and parody-making of a crime is one that adheres to a shrewd limitation of free-will while part of the production of Cops is to produce (if not only the image of) "criminals." In effect, the production of criminals is heavily weighed upon developing a consistent stereotype of criminality which casts a net toward lower-income individuals in suburban pockets nationwide. In terms of power, especially when certain "moral codes" are instigated and enforced upon, this specific episode exemplifies that an object so neutral as a bicycle could serve as a symbol and medium for power to be exercised and where the "victims" of the plotted crime are seduced/manipulated into becoming unaware social actors for the sake of criminal production taking place within a theatricized arena. In this context of Cops, targeted individuals that play a criminal role unawares are ironically trafficked into the situation in which money is ultimately being made from their existential expense. In this sense, confession functions as a monetary tactic which cashes out at the vertex of live-video recording of the criminal's often forced submission to power partially based on a scripted plot. The police officers are in an equal position; a penumbra to the criminal's shadow since it takes both contrasts for monetary ends to inevitably emerge from the drama. Either way, the criminal is not only subject to serving as a social actor, but falls victim to an ongoing circulation of Cop's financial revenue which passes through his utterance of "I took it because it was there."
76 comments:
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2010 競馬予想 各厩舎・調教師から届けられる最強の馬券情報を限定公開!本物の オッズ 表はコレだ
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最近の不景気は、今一度自分の人生を見直すのに良い時期が来てます。こんな時代だからこそ人生の値段チェッカーで、人生の勝ち組に成る為のアドバイスを貰いませんか?ぱっと思い立った時こそ人生の分かれ道ですよ
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皐月賞・競馬予想!各厩舎・調教師から届けられる最強の馬券情報を限定公開!本物のオッズ表はコレだ
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数多くある出会い系の中でも簡単に出会えるのはココ!女の子の登録人数が多いのであなたの地域のカワイイ娘もゲット出来ちゃうんです
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スタービーチが完全リニューアルして復活しました!!あの伝説級の出会い系サイトが満を持して再降臨。煌めくような今この瞬間にあなたの胸にもときめきをお届けします
誰でも知ってるモバゲーは人気SNS!当然出合いを求めてる人も多い!そこで男女が出合えるコミュニティーが誕生!ここで友達、恋人が簡単にできちゃいますよ
OLしてます☆気軽にメールくれたらほんと嬉しいです♪仲良くなったら遊びにいきたいなぁ☆ hello-kxt@docomo.ne.jp
モバゲーで探せるご近所掲示板で簡単であい!ゲーム攻略やおススメ小説情報もここでGET!ここでしか見れない裏技も公開中
スタービーチは誰にもでも幸福をもたらしてくれる。ここでだからこそ見つかるであいはきっと一生の思い出に変わります…そんな体験をあなたに。思う存分スタビをご堪能してください
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一時代を築いたスタービーチは閉鎖になってしまいましたが、もう一度楽しい思いをしたい、もう一度遊びたいと思う有志により再度復活しました。本家以上に簡単に会えて楽しい思いを約束します
NHKマイルC 2010 予想、オッズ、厳選買い目は?今年の狙うべきポイントを限定公開!
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ヴィクトリアマイル 2010 予想、オッズ、厳選買い目は?人気が平然と馬券に絡む理由とは
ちょっとこんなところに書き込むのはちょっとおかしいんですけど…GWは色々楽しめました??私は結婚しているんですけどどこにも連れて行ってもらえませんでした…旦那は友達(?)とマカオに遊びに行ってます…怪しいですよね…私もスカッとパーっとしたいです♪良かったらメールしてくれる人居ませんか? sara-sarar@docomo.ne.jp
ヴィクトリアマイル 2010 予想、オッズ、厳選買い目は?今年の波乱をズバリ!確勝買い目公開中!大穴狙いのギャンブラー必見激アツ情報
モバゲータウンでであいを求めているなら当サイトへ!当コミュニティサイトは本家のモバゲータウンよりはるかにであいやすい、まさにユーザー様の為のサイトとなっております。であいをお楽しみください
飲み会やコンパで必須のSM度チェッカー、お手軽SM度診断!実は真面目な娘程、間逆なドS女王様、遊んでそうな娘はドMな奴隷願望が有るとか。診断結果を元に隠れた性癖を暴いて盛り上がろう
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オークス 2010 予想 オッズ 出走馬 枠順で万馬券も夢じゃない?人気が平然と馬券に絡む理由とは!?今年の優駿牝馬は荒れるのか
もぅすぐ夏ですね☆一緒に海に行ったりしたいなヾ(>▽<)o himawari-yumeland@docomo.ne.jp
最近、話題のトゥイッターから始まる理想の関係…理想の恋をこの場で見つけていきませんか
スタービーチは誰にでも出逢いという奇跡をもたらしてくれる。スタビで理想の関係作りしてみませんか
自分の名言を一つは残しませんか、しかし考えると意外と難しい。そんな時に名言チェッカーならあなたの本当の性格を見抜けちゃいます。世界の偉人達が残した名言にはどことなく重みがあるものです
第77回 日本ダービー 2010 予想、オッズ、厳選買い目は?今年の波乱をズバリ!確勝買い目公開中!結果を出す前に結果がまるわかり
スタービーチから始まる新たな恋をしませんか?スタビ掲示板を利用して新たな恋をしていきましょう
第77回 日本ダービー 2010 予想、オッズ、厳選買い目は?人気が平然と馬券に絡む理由とは!?見事に展開を読んで結果を的中させる
エロセレブとの出会いを完全無料でご提供します。逆援助で高額報酬をゲットしよう
モバゲータウンでいろんな異性と交流を深めあいませんか。異性に対して経験がない方でも簡単にお楽しみいただける、シンプルかつ効率的に優れているサイトとなっています
全世界で大ブームを巻き起こしているツイッター!!それを利用して今まで経験したことがないような恋を経験してみませんか
エロセレブとの出会いを完全無料でご提供します。逆援助で高額報酬をゲットしよう
スタービーチがどこのサイトよりも遊べる確率は高いんです。登録無料で新しい恋をGETしてみませんか
一流セレブたちが出会いを求めて集まっています。彼女たちからの逆援助でリッチな生活を楽しみましょう
最近普通のプレイに物足りなさを感じているそこのアナタ、ワンランク上のプレイをしてみませんか?そんな時の目安にSM度チェッカーを使うんです。自分の深層心理を暴きパートナーとのプレイ時のアドバイスも付きますよ!!一度どうですか
mコミュは無料登録で友達を沢山作る事のできる掲示板サイトです。使った事のない人でも簡単に使う事ができるのでお気軽にお立ち寄りください
素敵な出 会 いで愛を育む♪理想の人と楽しめる関係を築きませんか?mコミュでしか味わえない幸せを掴みましょう
スタービーチで会える!?理想の異性をGETしよう☆素敵な出会いばかりだから求めている関係も作りやすい!!貴方が求めているのはどういった恋ですか?
他の人が言ってる名言や格言って良い事言ってるな~とか思ってる方、名言チェッカーで今日から自分に相応しい言葉を見つけませんか!!これでどんな人にも一目置かれる存在に為れますよ
mixiをも凌駕する出会い率!!出会いをするならここしかない♪mixiより出会えてしまうこのサイト。一度ハマれば辞めれません。スタービーチで素敵な出会いをしちゃいましょう
モバゲーで出会いをすれば楽しい事は間違いありません。暑いからこそ出会いを楽しむべきなのです。登録無料で簡単に利用可能!
モバゲータウンでは恋愛から出合いまでのキッカケをつかめる無料のコミュニティサイトです。常時サポートスタッフが掲示板をチェック、サクラや業者を排除しておりますので安心してご利用いただけます
スタビが今一番アツイのはご存じでしょうか?夏休みで出会いを探している娘とすぐに会えちゃうんです。登録無料でここまで出会える所は他には存在しません。今登録して良いパートナーに巡り合おう
出会いのシーズン、夏到来!スタービーチでご近所さんと知り合っちゃおう!ひと夏の体験も女の子は求めている
モバゲーでついに出会いができる!?楽しめる出会い、求めていた出会いはココから始まる。素敵な出会いでまずは関係づくりwしていきましょう
greeで素敵な時間を過ごしたい・・・そんな願望を叶えてくれるサイト誕生!!今までにないドキドキ感と興奮をこのグリーで楽しみましょう
スタービーチで始まる素敵な出 合いをしていきませんか。楽しめる出 合いを経験するにはココから始まる!!最高の出 合いがあなたを待っている
スタビで出会いができる!!いつでもどこでも出会いが可能なスタービーチで最高の出会いをしてみませんか
簡単な出逢いはココでできる☆素敵な出逢いをmコミュで体験していきませんか?楽しめる出逢いを経験するならここしかない!!まずはお試しを
新時代突入!ツイッターで始まる出逢い…ここでしかできない出逢いが新しい風を巻き起こす!!素敵な巡りあわせを体験していこう!
あなたの秘められたSM度がわかるSMチェッカー!簡単な質問に答えるだけで自分の隠された部分が分かります!みんなで試してみよう
今やモバゲーは押しも押されもせぬ人気SNS!当然出 会いを求めてる人も多い!そこで男女が出 逢えるコミュニティーが誕生!ここなら友達、恋人が簡単にできちゃいますよ
もう夏休みも終わりに近づき、この夏最後の思い出を作りたいと焦ってる方が、モバゲーのコミュニティーに書かれてましたよ!!折角なんで夏の思い出作りに協力して自分も美味しい思いをしてみるのはどうですか?大手スポンサーサイトが付いてるので全部タダですよ
最近はどこのSNSサイトも規制ばっかりで、ちょっと出 合いに関して書き込みするとアク禁食らうけど、夏休み終盤に差し掛かり色々なサイトを調べた結果、グリーだけはどうも規制が緩んでるみたいです。今がチャンスの時期ですよ
ツイッターで出 合 いを求めるのです。気の合う異性と交流して楽しいひと時をお過ごしください。登録無料で使えるので気軽さは100点満点!
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