When seeing is not believing
By Hajrah Mumtaz
THERE was a time when you could believe the evidence of your senses, when seeing really was believing. This may not be such a smart move any more, for television blurs the distinction between reality and the simulation of reality. People tend to believe what they see on their screens because, after all, the camera can’t lie. But as any person who works in television will tell you, yes it can, otherwise Jurassic Park would have us convinced that dinosaurs roam free.
By virtue of the power to select, manipulate and edit images, television can tell you the biggest of whoppers. This becomes particularly significant in terms of news coverage, such as the president’s Islamabad rally on May 12. Televised footage of the earlier part of the evening was filmed in long-shot with the camera panning over the area to capture the crowds. By the time night fell, the camera had settled into tight, focussed shots of the audience since the edges of the crowds had started melting away and the number of people had been greatly reduced. Islamabad residents reported that buses full of General Musharraf’s supporters were raiding the city’s fast food joints at the very moment he was congratulating himself on what he called an unprecedented turn-out.
That television can twist reality became a controversial debate after the first Gulf war when French philosopher Jean Baudrillard wrote three essays translated and published under the provocative title, The Gulf War Did Not Take Place. Unlike what many horrified readers assumed, he was not arguing for the literal interpretation of the title. His thesis was mainly that what is considered real is actually the image of the real, possibly distorted and assigned a new meaning, and that the Gulf war existed in popular imagination only as a series of televised radar and night-vision camera images.
Another point was that television has given new meaning to the term “theatre of war.” Sitting comfortably in his armchair, armed with popcorn, the average viewer today has a ring-side seat from which to watch his pick of disaster. Tiring of Baghdad, Kandahar, the West Bank or Darfur, he can switch to the war against terror (a simulated hyper-reality if there ever was one), the floods in South Asia and from there to Star Wars, Independence Day or Twister. As a result, the viewer’s ability to draw a clear distinction between the facts of one crisis and the fiction of another is numbed. Tragedy becomes a spectator sport.
In Pakistan, however, the opposite seems to be the case, at least if viewer responses to incidents such as the May 12 Karachi violence or the effects of Yemyin are taken as indicators. People across the country watched events unfold on their TV screens and were drawn into the crises. They are not spectators at the sidelines but standing with the fishermen in Ormara and the homeless in Kech. Whether the visual image is powerful enough to spark civic action as it did in October 2005, remains to be seen.
Meanwhile, TV screens also resound with lofty government claims, such as these three gems reported on June 27: Balochistan chief minister Jam Mohammad Yousuf stated that no human loss had been reported from any part of Balochistan, while Sindh governor Dr Ishratul Ibad commented that the situation has resumed normality in 95 per cent of Karachi and city nazim Mustafa Kamal said magnanimously that the hoardings installed within the city government’s jurisdiction posed no threat to lives or property but the city government was nevertheless ready to make Karachi a hoarding-free city.
Malcolm X once observed that whether one is perceived as a monster or a freedom fighter is largely in the hands of who controls the image.
Post script: The 1999 film The Matrix, which raised issues of the dark side of virtual reality, paid homage to Baudrillard by having hero Neo hide contraband software in a hollowed-out copy of one of the philosopher’s books, while rebel chief Morpheus quoted the writer’s most famous formula: “Welcome to the desert of the real.” Baudrillard later protested that the Wachowski brothers had got him wrong: “The Matrix is surely the kind of film about the matrix that the matrix would have been able to produce.”

