The film works as a satire because the community in which Truman lives his fake existence is very much tied into a corporate dominated world in which the notion of illusion and reality are often blurred. ‘Product placement’ and testimonials for this emerging system of entertainment-marketing capitalism are being seamlessly woven into our lives.

Truman’s quest for freedom can be interpreted as the aspiration for authenticity and meaning within a world in which the increasing commodification of all things is a feature of modern life. Was Weir on to something? Is the world in which Truman inhabits more than just a piece of science fiction allegory?

Molded into a desired pattern

Every institution provides the people who are members of it with a social role – that’s as true to the role played by say, the church, as it is to the corporation whose goal it is to maximize profit and market share. Capitalism could not function if it were not for the fact that individuals are disassociated from both the products of their labour and from one another. Just like the God figure, Christof, public relations and advertising industries facilitate the process of disassociation by molding people from a very early age into a desired pattern.

To achieve this, corporations don’t necessarily advertise products, but advertise a way of life and a narrative of who we are as people. The aim is to persuade the masses that the corporation is virtuous, responsible for the good life and the belief that the future can only be better than the present; that modernity itself means human improvement. However, the contradictions inherent to capitalism are such that progress is measured by the speed at which we destroy the conditions that sustain life. The function of corporate branding is to persuade us that the ideology of progress will offset the decline in societal and environmental well-being.

Disney Utopianism

Many corporations have already recreated their branded visions as three dimensional representations of real life with this aim in mind. A company like Disney, for example, have taken this logic to the next level by building a “town” in the image of their brand – Celebration Florida – which it describes as a “unincorporated community of almost 8,000 people, situated on 11 square miles of carefully engineered Floridian swamp.” The brand image of Celebration Florida is a themed all-American family friendly privatized branded cocoon set within a bygone era – the real life Seahaven.

Given that relations mediated between human beings increasingly appear to be the function of the commercial world, could the Utopian Celebration Florida model become a commonplace vision elsewhere? Moreover, can civilization survive on this narrow definition of how humans interact with one another?

The real-life experiences many of us engage in on a day-to-day basis, embodied in atomized living and the increasing engagement with virtual reality and robotics, is arguably closer to the allegorical fantasy of the Truman Show than many people are perhaps prepared to admit. Just as Christof wove product placements into dialogue and scenes as part of Truman’s constructed reality, the same processes form part of the marketing tools available to professional marketeers who weave product-placements into our everyday real lives.

Product placement

Professional marketeer, Jonathan Ressler CEO of Big Fat Inc. concedes that “real life product placement is just that – placing stuff in movies but the movie is actually your life.” In other words, it’s already the case that people are being subliminally targeted with branding by undercover marketeers on a daily basis. Ressler elaborates on these themes in the documentary film, The Corporation.  He claims that the public are subject to an average of eight or nine subliminal marketing messages a day and they therefore effectively act as brand bait and soundbites of knowledge for corporations.

According to Ressler, it’s fine if the masses want to be critical by cynically challenging the motive behind every human exchange, but adds that if the corporations “show you something that fits and something that works that makes your life better in some way, who cares?…Just say, thanks!” The implication seems to be that if an uncritical and undemanding public are happy with the commercial ‘comforts’ that the corporation is able to provide them and their families with, then logically there is no reason for people to want to absolve themselves of these comforts.

Reassurance

Familiarity and reassurance appears in some way to be hard-wired into the human psyche. This probably explains why, for example, many people who travel or settle in foreign lands tend to congregate and surround themselves with others of similar linguistic and cultural backgrounds.The corporate marketeers are thus able to exploit this situation for their own commercial ends.

Just as Christof sought to discourage Truman from leaving his inauthentic existence in Seahaven by warning him of the dangers that exist in the real world compared to the life of safety constructed for him, so it is that Celebration Florida spokesperson, Andrea Finger, is able to promote a highly successful Disney brand predicated on the notion that it “speaks of reassurance, tradition and quality.”

There’s an interesting Truman site by Ken Sanes who says the Truman Show tells us that “if we want to be free and have a chance at an authentic life, we will have to distance ourselves from the safety and comforts of our media-saturated culture and be willing to live in the world as it is”. This brings into sharp focus the contesting nature of authenticity; of identity and representation and what constitutes democratic urban space and its relation to forms of state power. I discuss these issues in more detail here and here.

Authentic spaces or corporate landscapes of power?

More broadly, the public’s perception of what constitutes an authentic space is often tied to what use the state puts them to. The line between private and public spaces in which large parts of towns and cities have been hollowed out, is becoming increasingly blurred. London’s Canary Wharf, Olympic Park and the Broadgate development in the City, for example, are public places now governed by the rules of the corporations who own them. Other privatized public zones in Britain include Birmingham’s Brindley place, a significant canal-side development, and Princesshay in Exeter, described as a “shopping destination featuring over 60 shops set in a series of interconnecting open streets and squares”.

Ultimately, corporations are shaping elements from the landscape of cities and towns and re-packaging them under the banner ‘urban renaissance’ predicated on place promotion and development with culture, heritage and conspicuous consumption in mind. The real life Disney Celebration Florida model that literally could have been borrowed from the fictional Truman Show, represents the apex of this concept. In her book Landscapes of Power, Sharon Zukin quotes a Disneyland planner:

“We carefully program out all the negative, unwanted elements and program in the positive elements…Disney succeeded on the basis of this totalitarian image-making, projecting the collective desires of the powerless into a corporate landscape of power.”

Is this kind of privatized and sanitized Disney- Truman Show-type environment the kind of model for society we ought to be encouraging planners to move towards?

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