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Module C Telling the Truth Those who control the spread of information control the truth Composers have ultimate control over the truth in their texts Composers of texts have the ultimate control over the truth in their text - through the use of techniques to shape meaning they can construct the readers opinion Geoffrey Robertson in The Justice Game crafts many textual elements in his book about the legal system the cases and about himself Other composers also set their own agenda and these biases cannot be overlooked For example in the Trials of Oz Robertson exercises supreme authority to decide who is guilty or innocent He uses language to describe the defendants as honest young men and to characterise Oz as a harmless coffee-table magazine for the revolution that would never happen Robertson also uses language to construct the readers disapproval of Justice Argyle whom Robertson casts as extremely conservative and out-of-touch The judge cannot pronounce cunnilingus and is unaware of the famous musical Hair Robertson uses this as evidence Argyle is an old crone willing to bend the rules of law to convict the defendants Robertson crafts language to present him in a most undignified manner - passing the sentence with the relief of a man making a bowel movement In this sordid description Robertson exercises his authority over the representation of truth Yet even in a separate text on the same issue written by Robertson the screenplay of The Trials of Oz other techniques are used to add meaning to Robertsons truth Echoing effects are added to Argyles voice giving the charge corrupt and deprave a deeply disturbing resonance The use of music also crafts Robertsons representation the song Children of the Revolution is used to support the defendants innocence in the face of the state However it is in the screenplay of the Trials that Robertsons power to shape the truth is revealed Jim Anderson has an
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