Analysis of Artificiality in the Truman Show Essay Example

Artificiality is a concept that is described as a man-made reality, thereby one that is not natural. Such realities are prominent in reality tv shows which are based around the concept of creating an artificial environment where real people coexist in a certain way for the sake of entertainment; these shows are unscripted and depict the real reactions of the people in manipulated situations though. An example of such a show is The Truman Show; not a conventional reality tv show, but a movie that depicts one. The Truman Show is a movie by Peter Weir that follows Truman Burbank, a man whose entire life is being filmed and broadcasted as a tv show without him realizing. The film is unique in many ways however what makes it so interesting is the way the artificial reality is represented. The director depends on the extensive and strategic use of cameras in order to capture and deconstruct this hyperreality. However, it can be argued that in the movie the most effective and compelling way the director represents this fake reality is through the use of the character Christof as a plot device. This controversy between the two devices therefore raises the line of inquiry: To what extent  is the use of cameras more effective than Christof as a plot device with regards to the representation of the artificiality in Peter Weir’s Truman Show?  This essay will argue that not only the cinematic camera techniques are utilized extensively by the director to represent the artificial reality of the show but it is , indeed, Christof’s character as a plot device which mainly represents this ‘fake’ reality. 

First and foremost, the camera techniques utilized by the author are numerous, however some specific rise above the rest with regards to the effectiveness towards the representation of the artificiality. Firstly, the close-ups in the Truman Show are used to trigger the doubts of Truman about the reality he is living in as well as emphasize on the artificial nature of his environment. More specifically, the demonstration of the “fake” reality appears in two separate occasions in the movie : when the light projector falls from the “sky” and when the error in Truman’s car radio occurs. The following situations in the movie can only be described as bizzare for Truman as much as for the audience. He himself appears confused and troubled after the incidents, a view that is amplified and reinforced by the use of close ups. After each error occuring in the movie, the camera moves towards Truman and focuses on his facial expression. Truman’s facial expression evidently reveals confusion, as the protagonist cannot comprehend the bizarre nature of the two situations. At this point, Truman’s genuine state of mind has been revealed and clearly demonstrated to the audience. The audience therefore can make assumptions about the reality of Truman and understand that due to his reaction and the unrealistic nature of the previous errors, that Truman is living in an artificial reality. Moreover, even though the close ups may appear as an effective technique of representation, the reality is that close ups are only utilized to emphasize and highlight Truman’s confusion and the abnormality of the situations. Instead it can be argued that the flaws implemented by Peter Weir in the movie (light-projector and car-radio incident)  are the actual plot devices that communicate and deconstruct the artificiality. 

In the Truman show, colors and panoramic shots are  utilized in order to highlight the differences between the hyperrealistic Seahaven and the realistic world in the movie. Ultimately this contradiction will result in the representation and deconstruction of artificiality. Commonly, panoramic shots have the effect of presenting a certain object, individual or landscape in a more holistic way, thereby allowing the audience to understand it in more depth. In the Truman show, Peter Weir uses such shots in order to create a contradiction between the fictional world of Seahaven and the “real world” that the producers, the staff and the non-diegetic audience exists in. The most important examples of this technique in the movie are the multiple panoramic shots of Seahaven that come in contrast with the shots of the “real world” at the start of the movie. The shots that picture Seahaven represent it as a perfect almost fake place. All the buildings, the roads and the trees are in perfect harmony with the sea that can be viewed in the background. This comes in contrast with the panoramic shot of the “real world”. There the world outside of Seahaven is pictured much more differently; the buildings appear damper and darker and the roads seem uncoordinated and flawed. The effect of the panoramic shots in this case is to present the two places holistically in order to emphasize on these details that make them different. 

Likewise, the director in order to further emphasize on this contradiction utilizes different color lens filters and colors. Seahaven is presented through lighter and softer lenses and the main color is a light yellow, while on the other hand the studio of Christof, thereby the “real world” is presented in dark colors, with the main color of choice being blue.This therefore creates a contrast between the two realities discussed in the movie, the reality of Seahaven and the reality of the world outside of it. Nevertheless, this contradiction is what ultimately deconstructs the artificial reality of the Seahaven, as it highlights once again the elements that make it “fake” to the audience. Overall these techniques manage to represent effectively to an extent, the artificiality in the Truman Show, however it can be considered that such techniques fail to capture explicitly the elements of artificiality, meaning that in some cases can fail to explain in detail the elements that represent this “fake world”

It can be argued however , that concerning the representation of artificiality, the most effective device that the director utilizes is that of the character of Christof as a God-like figure. Christof is the character in the film that is responsible for the artificial world that Truman lives in. He does not act however as a mere creator. Actually, throughout the show he intervenes in Truman’s life in Seahaven and shapes it in a way that would be entertaining for the audience. Peter Weir utilizes this character in order to demonstrate how Truman’s reality is clearly a product of another human. Christof appears on many occasions to be a god-like figure for this artificial world, in the sense that he not only intervenes in Truman’s life but also shapes his personality and identity to an extent. An example of this can be found when Christof himself admits in an interview during the film that he decided to write-off the show Truman’s father by creating an accident where he drowned in the sea. This was not an act without any reasoning behind it, as Christof himself admits that he did so in order to create Truman’s fear for the sea and prevent him from leaving. This choice, is therefore an example of how Christof has shaped an aspect of Truman's identity for the sake of keeping him "locked in the show".Peter Weir, in this case utilizes Christof as a plot device in the story to demonstrate effectively to the audience how artificial Truman’s world really is. More specifically, the artificiality of Truman's world is further reinforced and represented through the use of the character of Christof as he is the creator of it. Moreover, it is doubted however the extent to which the intervention is actually a technique used by Peter Weir. It can be supported however that Christof in the film impersonates Peter Weir, in the sense of the creator. In general, Peter Weir through this device successfully and effectively manages to demonstrate the artificial nature of the reality of Seahaven by positioning a character as the creator of this reality, therefore deeming this reality, a man-made one. 

The technique of the character of Christof as a plot device thereby, is more effective in the representation of the artificiality as it actively demonstrates why this reality can be considered an artificial one. In addition to this, it represents some the key elements of the representation of the artificiality through the this plot device, most importantly the intervention in Truman’s identity.The previous camera techniques and colors in that sense are not as effective in the representation of the artificiality as in most if not all cases they do not represent the artificiality and instead highlight and emphasize the devices that do. In conclusion, the technique of the character of Christof is more effective with regards to the representation of artificiality as it is an actual device of representation and not a device used to show emphasis. 

Sources: 

Niccol, Andrew, and Peter Weir. The Truman Show. Hollywood, CA: Paramount Pictures, 1999.