Campbell Live and its Discontents: The Culture Industry, Repressive Desublimation, and Investigative Journalism in New Zealand

It beggars belief that in a liberal democracy there is such a passive acceptance of the inevitability of Campbell Live’s fate—why is a fundamental cornerstone of democracy being eroded away within a system that purports to actively champion it? I aim to offer a dual explanation for the general demise of rigorous news media under late capitalism by application of Theodore Adorno’s culture industry thesis, as well as Freudian psychoanalysis via Herbert Marcuse’s repressive desublimation thesis. These two theories when applied in tandem shed light on why this has not only willingly occurred by suggesting that it is in capital’s interest to orchestrate such a system, but that we accept this system because it caters for our deepest irrational desire for it.

There has been a plethora of media analysis of the situation Campbell Live is facing, and to trawl through all of them to give a comprehensive picture is beyond the theoretical application of this essay. However, I wish to draw attention to Gordon Campbell’s editorial that highlights the inevitable demise of investigative journalism on broadcast television as an inherent, and dangerous, reality in a market orientated environment. Campbell’s paraphrasing of Oscar Wilde to describe the market telling us the “price of everything and the value of nothing” should be to be considered pertinent rather than a mere quip.[1] Lord Darlington was answering the question: “What is a cynic?”[2] The Oxford English Dictionary defines cynical as:

Believing that people are motivated purely by self-interest … concerned only with one’s own interests and typically disregarding accepted standards in order to achieve them.[3]

Pay particular attention to these definitions in relation to the market—and both Campbell’s application of Wilde to the market, and how this relates to Adorno’s thesis (as well as Marcuse’s). Keep in mind that under capitalism producers and consumers are self-interested. The disjunction between intrinsic and exchange value touches at one of the contradictions of capitalism, both with regards to the aesthetic of culture highlighted by Adorno, as well as, more troublingly, the fundamental principles of democracy. While journalism can be said to have use value in terms of information content for consumers, at a higher level its relationship to maintaining a functioning democracy and distributing knowledge could be considered intrinsic.

                  The original aim of Adorno’s thesis was to show what we would perceive of as artistic culture—film, music, literature, radio, television—is being standardised in such a way as to increase its market value and well as undermine its critical element, all to the benefit of capital.[4] The underlying causal mechanisms that he exposed in doing so can be discerned, explicably, in every facet of late capitalist societies, including journalism. By using a more encompassing definition of culture within Adorno’s theory, investigative journalism (in this case within the context of broadcast television), has also become subject to the same marketability and standardisation that has subsumed artistic culture.^[5] The archetypal measure of success in business is sales volume, and in turn, repetition of the formula of success. The product is worthy only insofar as it can be sold to the largest possible market. It is beyond belief that Television New Zealand’s pseudo-journalistic venture Seven Sharp consistently has substantively higher viewer ratings than Campbell Live, nevertheless, the show has found a formula that guarantees higher advertising revenue than a more qualitative editorial enterprise. The show’s less contentious and predictable content appeals to a larger public and appeases advertisers. It is little wonder then that MediaWorks, Campbell Live’s producers, wishes to replicate this formula for its own commercial imperatives. Profit will always trump any higher value offered by journalism. This fusion of entertainment and information produces a muted critical thinking in its viewers that will feedback into supporting the capitalist media enterprise.

                  Surely within a highly educated society consumers would see this apparatus at face value and demand otherwise? It seems not. In order to understand this we must engage with Sigmund Freud’s psychoanalysis and Marcuse’s Marxist application of it. Freud suggests our deepest irrational desires for instant pleasurable gratification (the pleasure principle) is regulated by normative rules in our social sphere that we internalise (the reality principle).[6] Freud refers to the process of transformation of these desires into useful activity as sublimation. In addition to claiming civilization is driven by the process of sublimation, Freud argues that art as an end is a principle manifestation of sublimation. Marcuse, however, has suggested that late capitalism has reversed this notion. High culture, he claims, was originally a subversive dimension of society as the result of sublimation. However, the culture industry under late capitalism has flattened out any subversive element that it once had.[7]

While journalism does not explicitly fit the mould of art, and it can nevertheless be considered within high culture, as there is something to be said for the subversive element it can contain, namely, the critique of power. It is the changes in the mode of production under late capitalism that is rendering some forms of television journalism less antagonistic by blurring the distinction between its critical discourse, and trivialised news snippets and puff-piece journalism that satisfies instant gratification. This desublimation in turn generates the market demand that cynically demands this easy-to-digest and less subversive news content that capital, seeking to return a profit, is more than happy to supply.

A common critique of the trivialisation of television media suggests that the sphere of interactive discourse has shifted to the medium of the internet. While somewhat true, the desublimation hypothesis still suggests a required critical thought to actively engage with this sphere; a concerted effort is required to seek out and critically analyse news media and editorialised writing. However, a desublimated consumer will defer this critical thought via various modes of instant gratification: referring to websites of television news media such as TVNZ or 3 News; corporate dominated print media websites such as the New Zealand Herald or Fairfax; social media feeds such as Facebook or Twitter; or in an unfortunately increasing number of consumers, even the need for trivalised journalism is trumped by less critical forms of entertainment of which the internet offers an almost bottomless pit of. Any engagement with news media is still taken at face value uncritically, whether in agreement or not, instant gratification is satisfied and the matter is seldom engaged further than satisfactorily necessary.

Both Adorno and Marcuse had something important to say in the critique of late capitalism, and no doubt features of their theory are seen not just in artistic culture, but all culture. 'I don't want to think; I want to feel' is the epitome of the consumer under late capitalism. What Adorno and Marcuse have shown us is that the passive acceptance of this system, because of capital's manipulation of it, is destroying the 'think' supplied by investigative journalism, and exacerbating the 'feel' supplied by predictable and formulaic infotainment. The market becomes the measure of everything and offers the (intrinsic) value of nothing. We have become astonishingly self-interested and cynical as a consequence.

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[1] Gordon Campbell, "Gordon Campbell on the Demise of Campbell Live," Scoop Media, last modified April 10, 2015, http://gordoncampbell.scoop.co.nz/2015/04/10/gordon-campbell-on-the-demise-of-campbell-live/.

[2] Oscar Wilde, Lady Windermere's Fan (Cambridge: ProQuest LLC, 1996), 95.

[3] Oxford Dictionary of English, Third Edition, 2013, s.v. “cynical”.

[4] Theodor W. Adorno and Max Horkheimer, Dialectic of Enlightenment, trans. John Cumming (London: Verso, 2010), 120-167.

[5] Precise definitions of culture are numerous and debatable, and vary between sociological and anthropological disciplines. I intend to utilise Ian Buchanan’s definition of culture as a “set of beliefs, practices, rituals, and traditions shared by a group of people”, which within a democratic society would include journalism as valued for its contribution to political accountability. Oxford Dictionary of Critical Theory (Oxford: Oxford University Press, 2010), s.v. “culture”.

[6] Sigmund Freud, Civilization and its Discontents, trans. David McLintock (London: Penguin, 2004), 16-20.

[7] Herbert Marcuse, One-Dimensional Man: Studies in the Ideology of Advanced Industrial Society (London: Routledge, 2002), 59-86.

———————————————————————————————————————— "... we can explore space together, both inner and outer, forever in peace." —W. M. Hicks.