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Feature Article on Wag The Dog (Full Marks)

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Feature Article on Wag The Dog (Full Marks)
Those In Power Own The Truth

What is truth? As Marcus Aurelius said "Everything we see is a perspective, not the truth". If all truth is simply a matter of perspective, then this perspective can be manipulated. Levinson proves in his film 'Wag the Dog' that we need look no farther than the media to find elements of this manipulation. Is he correct? The fact that Levinson was able to exactly predict the Lewinsky scandal of 1998 before it happened reinforces his point tenfold. But what exactly is Levinson trying to tell us through his film, and are there current examples of this manipulation?

The purpose of Levinson's film, in his own words, was to "Raise public awareness about the dissemination of false information". He did this in the aftermath of the Gulf war, and makes specific reference to it. He portrays war as "show business". In the scene where Conrad is convincing Stanley to produce the 'pageant' that is war, Levinson uses very quick editing of iconic war images. These flashing images are combined with Conrad's elaboration on the obscurity of truth. This causes the audience to question the validity of the flashing images (including the five marines raising the flag and the Churchill 'V' for victory) and how their feelings towards the war were manipulated by them. Conrad says of the gulf war "2500 missions a day. One hundred days. One video... We shot that footage in a studio." When asked by Stanley to confirm if that was true, Conrad says "How do we know?" The hyper realistic form of dialogue compounds the stark realism of Levinson's message. The combined effect of these techniques and allusions is to sow doubt about the legitimacy of the media's techniques. Levinson is quick to demonstrate how the media can manipulate truth, but who owns the truth is slightly more ambiguous.

Instead of simply portraying the powerful president as owning the truth, Wag the Dog questions who is actually in power. This is done through the characterisation of Conrad

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