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Voyeur Nation Media Privacy and Peering in Modern Culture Critical Studies in Communication and in Cultural Industries 1st Edition Calvert Full

The document discusses the book 'Voyeur Nation: Media, Privacy, and Peering in Modern Culture' by Clay Calvert, which explores the phenomenon of mediated voyeurism in contemporary society. It defines mediated voyeurism as the consumption of revealing images and information about others' lives, often at the expense of privacy, through mass media and the Internet. The book categorizes different types of voyeuristic media content and examines the social and economic forces driving this trend.

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100% found this document useful (2 votes)
98 views143 pages

Voyeur Nation Media Privacy and Peering in Modern Culture Critical Studies in Communication and in Cultural Industries 1st Edition Calvert Full

The document discusses the book 'Voyeur Nation: Media, Privacy, and Peering in Modern Culture' by Clay Calvert, which explores the phenomenon of mediated voyeurism in contemporary society. It defines mediated voyeurism as the consumption of revealing images and information about others' lives, often at the expense of privacy, through mass media and the Internet. The book categorizes different types of voyeuristic media content and examines the social and economic forces driving this trend.

Uploaded by

reirikaw4106
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Media, Privacy, and Peering
in Modern Culture

CLAY CALVERT
H& V

VOYEUR NATION
Critical Studies in Communication and
in the Cultural Industries

Herbert I. Schiller, Series Editor

Voyeur Nation: Media, Privacy, and


Peering in Modern Culture, Clay Calvert

In the Company
of Media: Cultural Constructions of
Communication, 1920s-1930s, Hanno Hardt

Celluloid Mushroom Clouds: Hollywood and


the Atomic Bomb, Joyce Evans

Good News, Bad News: Journalism Ethics and


the Public Interest, Jeremy Iggers

Free Radio: Electronic Civil Disobedience, Lawrence Soley

Copyrighting Culture- The Political Economy of


Intellectual Property, Ronald V. Bettig

Invisible Crises: What Conglomerate Control of the


Media Means for America and the World, edited by
George Gerbner, Hamid Mowlana, and Herbert I. Schiller

Monopoly Television:
MTVs Quest to Control the Music, Jack Banks

Communication and the Transformation of Economics:


Essays in Information, Public Policy, and Political Economy,
Robert E. Babe

Consumer Culture and TV Programming,


Robin K. Andersen

Marketing Madness: A Survival Guide for a Consumer Society,


Michael F. Jacobson and Laurie Ann Mazur

Triumph of the Image: The Media's War in the


Persian Gulf, A Global Perspective, Hamid Mowlana,
George Gerbner, and Herbert I. Schiller

Mass Communications and American Empire,


Second Edition, Herbert I. Schiller
Voyeur
nation
Media, Privacy, and Peering in
Modern Culture

Clay Calvert

xij
Westview Press
A Member of the Perseus Books Group
Critical Studies in Communication and in the Cultural Industries

All rights reserved. Printed in the United States of America. No part of this publica-
tion may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopy, recording, or any information storage and re-

trieval system, without permission in writing from the publisher.

C opy right © 2004 by Westview Press, A Member of the Perseus Books Group

Published in the United States of America by Westview Press, A Member of the


Perseus Books Group, 5500 Central Avenue, Boulder, Colorado 80301-2877, and
in the United Kingdom by Westview Press, 12 Hid's Copse Road, Cumnor Hill,

Oxford OX2 9JJ.

Find us on the world wide web at www.westviewpress.com

Westview Press books are available at special discounts for bulk purchases in the
United States by corporations, institutions, and other organizations. For more infor-
mation, please contact the Special Markets Department at the Perseus Books
(.roup. Cambridge Center, Cambridge, MA 02142, or call (617) 252-52 c>8,
1 1

(800) 255-1514 or email [email protected].

A C ataloging-in-Publication data record for this book is available from the


1 ibrary of ( ongress.

ISBN 0-8133-4236 8

I he paper used in this publication meets the requirements


of the American National
Standard for Permanence of Paper tor Pruned ibrary Materials Z39.4X-1984.
I

c)
10 8 7 6 5 4 \ 2
Contents

Introduction 1

1 Peeping Tom Meets Jennifer Ringley 19

2 The Social Forces Driving Mediated Voyeurism 55

3 Priming the Economic and Political Pumps of


Mediated Voyeurism 91

4 Don't Look Now, but Somebody's Watching You 121

5 Free Press, Free Voyeurs? 133

6 Check Your Camera at the Castle Door 173

7 Seeing Voyeurs in First Amendment Theory 207

Conclusion 239

Notes 245
Index 266
Voyeur Nation
Introduction

A Truman Burbank World


The director Peter Weir's 1998 hit movie The Truman Show did
more than win three Golden Globe awards and prove that Jim
Carrey's acting range stretches far beyond that of a wise-
cracking, rubber-faced comedian. The film simultaneously
mocked our increasingly voyeuristic society and ridiculed a
transparently evident fact —
we like to watch other people's pri-
vate lives and revealing moments, but often care little for actu-
ally interacting with them.
In The Truman Show, Carrey plays Truman Burbank, a man
whose entire life is captured without his knowledge by 5,000
hidden cameras and broadcast live to 1.7 billion voyeuristic
viewers as a television show. His every movement, from his
birth until he discovers as an adult that his life is played out on
gigantic studio soundstage, is caught for the world to watch.
His ostensibly private moments are public. Burbank, of course,
1

is the only "true man '


in the show; the rest of the people he in-

teracts with, from his best friend to his wife, are merely actors
playing roles in his scripted life. Unbelievable? Pure fiction and
fantasy?
Not quite.Andrew Niccol, the thirty-four-year-old New
Zealander who wrote The Truman Show screenplay, remarked
that he "used to think this was farfetched and tongue-in-cheek,
but I'm not so sure now." 1
Indeed, a host of movie critics
2 VOYEUR NATION

lauded the movie's dead-on commentary about today's fascina-


tion with peering and gazing into places from which we typi-

cally are forbidden and seeing and hearing the innermost details
of others' lives. Rita Kempley of the Washington Post, calling
the film one of the "smartest, most inventive movies in mem-
ory," stressed its emphasis on "the rise of voyeurism and the vi-
olation of the individual" 2 Edward Guthmann of the San Fran-
;

cisco Chronicle called the movie a "wondrous, thought-stirring


parable about privacy and voyeurism.
Voyeurism indeed. The voyeurism depicted in The Truman

Show and its offspring Ron Howard and Imagine Entertain-
ment's 1999 film EDTV depicted a video store clerk who volun-
tarily agrees to have network is
his life filmed for a television —
but a fictitious, over-the-top version of the voyeurism that
draws us on a daily basis to watch images of others' lives un-
fold —
frequently, in fact, unravel unceremoniously on televi- —
sion and the Internet. Summer 2000 brought with it the Ameri-
can network television debut of another voyeuristic spectacle.
Big Brother. The CBS show features ten strangers residing to-
gether in a specially constructed house loaded with hidden cam-
eras. Voyeuristic viewers can watch the housemates around the
clock on the Internet. Although voyeuristic content may not be
thedominant form of programming today half-hour situation —
comedies such as Friends and Everybody Lores Raymond and
hour-long dramas like The West Wing and Judging Amy still
clog prime-time television schedules — it is increasingly popular.
Examples of mediated, nonfiction voyeuristic fare are every-
where today on TV and the World Wide Web. They are the fo-
cus of this book.
Before we go further, a definition of mediated voyeurism the —
term given to the phenomenon studied here —
is in order. Medi-

ated voyeurism refers to the consumption of revealing i)nages of


and information about others' apparently real and unguarded
lives, often yet not always for purposes of entertainment but
frequently at the expense of privacy and discourse, through the
Introduction 3

means of the mass media and Internet. This definition appears


long, yet some may nonetheless find it incomplete or unsatisfac-
tory. Any longer definition, however, certainly would lose its
heuristic usefulness and he unwieldy, whereas any shorter ver-
sion would be nondescriptive and inadequate to capture the nu-
ances of this complex phenomenon.
A few aspects of this definition of mediated voyeurism that
will become clearer in later chapters are nonetheless worth
briefly unpacking here. The word "revealing" is used strategi-
cal ly to suggest aspects of disclosure and enlightenment that
may occur with mediated voyeurism. The phrase "apparently
real and unguarded lives" is chosen because the images in ques-
tion often appear to he or purport to be of the spontaneous,
verite variety. 0\ course, as Chapter 1 suggests in a discussion
of MTV's popular The Real World series, it often is hard to dis-

tinguish that which is real from that which is contrived. Like


the late comedian Andy Kaufman's wrestling forays with
women immortalized in the questioning lyrics of R.E.M.'s hit
song Man on the Moon and the 1999 Milos Forman film by the
same title, it may be hard to know what is real and what is fake.
As Fox's February 2000 show WhoWants to Marry a Multi-
Millionaire? proved, a private marriage ceremony can become a
public voyeuristic farce.
Likewise, the wording "often yet not always for purposes of
entertainment" is carefully chosen. Why is it selected? It is used
because, as Chapter 2 reveals, there are a myriad of motivations
beyond simple base entertainment and amusement purposes for
our inclination to partake in mediated voyeurism. It is not as

simple, as Neal Gabler writes in his engrossing 1998 book, Life


the Movie, as that "life itself is an entertainment medium." 4
The phrase "frequently at the expense of privacy and dis-
course" highlights two important interests that often are sacri-
ficed or given short shrift in our desire to be mediated voyeurs.
Mediated voyeurism, I argue in this book, thrives when privacy
is devalued and privileges spectating over interaction and dis-
4 VOYEUR NAI ION

cussion.The word "frequently" is used in this phrase because


later some of the individuals whose lives we
chapters reveal that
watch willingly allow us to do so. Their privacy thus is not sac-
rificed without their consent and they may be thought of, as the
book suggests, as exhibitionists.
Finally, the concluding phrase of the definition, "through the
means of the mass media and Internet," taps into the word
"mediated" in mediated voyeurism. In particular, this book fo-

cuses heavily on content conveyed by and consumed on televi-


sion and the Internet, as compared
media such as books
to print
or magazines. In some cases, in fact, both television and the In-
ternet provide avenues for watching the same images. New
voyeuristic fare such as Big Brother and Survivor can be both
seen on television and tracked on the Internet. Media technolo-
gies both capture the images that are the subject of this book
and allow us to watch them without ever requiring our interac-
tion with the people we view.

Categories of Mediated Voyeurism

To understand all of the mediated voyeurism described in this


book, it may be useful at this early stage to subdivide it into dif-
ferent categories. In particular, nonaction, reality-based
voyeuristic media content can be broken down into at least four
categories: (1) video verite voyeurism, (2) reconstruction
voyeurism, (3) tell-all/show-all voyeurism, and (4) sexual
voyeurism. At times, an individual instance or moment of me-
dia content may fit into more than one of these categories. At
other times, programs or shows do not fit cleanly into any cate-
gory. Although this book focuses more heavily on the first and
third brands of voyeurism — thevideo verite and tell-all/show-
all varieties — examples of programs or content that illustrate
mediated voyeurism in each of the four categories are set forth

below.
Introduction 5

Video Verite Voyeurism


u 1
The term cinema sometimes used in
verite* is film circles to

describe a genre or technique of filmmaking that is intended to


convey candid, unmanipulated realism, or, as the word verite
suggests, the truth. The camera, sometimes a lightweight, hand-
held camera, often tracks or follows the action or individuals in
unobtrusive, documentary fashion. 5 The camera is little more
6
than the proverbial fly on the wall. Verite techniques, such as
blurred, grainy visuals, purport to convey an objective window
on the world.
The first category of mediated voyeurism — video verite
voyeurism — is derived from cinema verite. The defining charac-
teristic of this distinctly nonfiction category of voyeurism is un-
rehearsed, unscripted moments of real life played out before,
and captured by, a video camera. As the title of one Paramount
syndicated series suggests, this is Real TV. The individuals
caught on camera often are unwilling or unsuspecting partici-
pants. One need think no further than the videotape of the beat-
ing of Rodney King by Los Angeles Police Department officers
to get the gist of this category. The beating was unrehearsed
and, much to the officers' surprise and chagrin, caught on
videotape by George Holliday from his apartment balcony.
Ho 11 id ay's voyeurism purported to capture the truth or reality
of the beating, a reality subject to interpretation, of course, by
jurors and everyone else who watched the infamous videotape.
Reality crime TV shows like Cops also fall into the category of
video verite voyeurism. Unlike the King beating, of course, it is
the suspects and not the police who are caught, unsuspectingly
and unwillingly, for the camera. Shows such as Cops, World's
Wildest Police Videos, and High Speed Chases take us, via cam-
eras and microphones, on police ride-alongs and high-speed
chases, and ultimately they sometimes take us inside people's
homes, taping individuals as they are searched, handcuffed, and
arrested. We watch all of this, of course, from the safe, comfort-
6 VOYEUR NATION

able confines of our apartments and homes, without tear of ever


having to meet, interact, or talk with the people we are watching.
As Mark Fishman. associate professor of sociology at Brooklyn
College writes. Cops's "cinema verite style invites voyeurism. It

does not solicit tips, and offers no pretence to catching crimi-


nals."' As voyeurs, we in the audience simply exercise our right
to remain silent while we quench our thirst to see.

Crime shows like Cops and rescue shows like On Scene: Emer-
gency Response are far from the only examples of video verite
voyeurism on television. Real-life courtroom dramas especially —
the sexy and sensational ones —
are played out daily on Court TV.
bringing the legal trials and tribulations of others directly into
our living rooms. The format works. As Stephen Easton points
out. "The success of the televised trial is based in part upon the
" v
audience's voyeuristic thirst for details of others' private lives.

Televised trials fit into the video verite category of voyeurism be-
cause nothing in the courtroom is scripted for television; it is cap-
tured live by cameras as it happens. The judge, not the camerap-
erson or television network, directs the action.
Other examples of the video verite voyeurism category are
described in subsequent chapters. This category is of particular
importance in this book because efforts to capture the live tape
that feeds the video verite genre often tests, pushes, and strains
important social and legal conceptions such as freedom of the
press, privacy, newsworthiness, and the public interest. Video
verite voyeurism also is of special significance here because it is

a relatively new form of mass-mediated, nonfiction voyeurism,


the proliferation of which is made possible largely because of
recent advances in technologies such as camcorders and minia-
ture microphones and other improvements in electronic surveil-

lance equipment.

Reconstruction Voyeurism

The defining characteristic ol reconstruction voyeurism is the


reenactment or dramatization of a real event. I'nlike video
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