Annotated Bibliography: Truman Show Cunningham, Douglas

Pages: 3 (1418 words)  ·  Bibliography Sources: 5  ·  Level: College Senior  ·  Topic: Film  ·  Buy This Paper


[. . .] No doubt the screenplay is invaluable in the research of or analysis of the film. There are always changes made between what is written on the script and what makes the final cut onscreen, nonetheless, there are enough similarities that make having the screenplay an asset to researching themes, characters, or otherwise in the film. Sometimes, the filmmaker's or writer's point can be made more clear or evident when read. The visuals of the film, while captivating, can also serve as distraction from deeper issues or subtext; therefore, possession of a copy of the screenplay is helpful.


Good morning! Oh, and in case I don't see you: good afternoon, good evening, and good night!

Thomas, David, & Gillard, Garry. "The Truman Show and the Programming of Reality." Screen Education, Issue 41, Pages 116 -- 118, 2005.

These authors begin with a discussion of director Peter Weir's body of work as an auteur as well as actor James Carrey's filmography. They first discuss the bodies of work of both figures as a way to provide context for The Truman Show and the discussion in which they will soon engage. The authors make a strong, yet tangential point regarding the timing of The Truman Show. The film was released just before the point where Youtube and reality television in America exploded, along with the cultural, social, philosophical, and technological consequences of such shifts in media production and consumption. The authors provide numerous examples of television shows and programs that like The Truman Show confront issues of postmodernity, borders & space, reality & reality construction.

"Contained in Carrey's portrayal of Truman's gradual decline, and subsequent 'triumph', are two distinct and very important sets of questions. Firstly, we are made aware of the distinctions we draw between the reality of television (or indeed media more generally), and the reality of our lives, and the indeterminate nature of the boundaries between each. Secondly, and perhaps more importantly, we are challenged to consider the implications of questions concerning free will." (Page 117)

Wise, J. Macgregor. "Mapping the Culture of Control: Seeing through The Truman Show." Television & New Media, Volume 3, Number 29, Pages 29 -- 47, 2002.

The author use the film The Truman Show as a vehicle to explore and discuss a concept developed by theorist Gilles Deleuze called the "society of control." The author uses Deleuze's and Foucault's ideas to map out the culture of control as prescribed in America and thus map out the culture of control within the context of the film The Truman Show. Wise is particularly interested in surveillance, discipline, product placement, the branding of everyday life, and the (hopefully) triumph of individualism. He describes these as elements indicative and necessary to modern capitalist societies. The author concurs with Deleuze and Foucault that ultimately, the fundamental purpose of cultures of control are to promote and sustain self-discipline, for subjects within the cultures of control to internalize systems of societal discipline and discipline themselves -- to self police. This is yet another author that compares life in Seahaven to life within Foucault's concept of a panopticon fully realized and designed by Jeremy Bentham. In panopticons, one disciplines oneself and one disciplines others while those who surveil all the prisoners are unseen. This is very much like how all the actors/extras in Seahaven police themselves to stay in character at all times and how Christof and those in the Moon studio are invisible to the Seahaven inhabitants. The studio monitors and surveils the whole town at all moments for the thirty years "The Truman Show" has been on the air.

"But what is meant by 'control' that differentiates it from 'discipline'? Whereas disciplinary apparatuses start over at each site, control is continuous. Whereas discipline is analogical, control is digital, consisting of inseparable variations and the proliferation of difference. Whereas discipline works by molding the subject, control works through constant modulation, continually changing from one moment to the next. Control 'undulates,' in a control society we surf (Deleuze 1995, 180). Whereas a disciplinary society works via precepts (order words), the society of control works through passwords and controlling access to information. Whereas disciplinary society is characterized by production (the factory), the control society is characterized by metaproduction (assembly… [END OF PREVIEW]

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Cite This Annotated Bibliography:

APA Format

Truman Show Cunningham, Douglas.  (2012, March 18).  Retrieved May 25, 2019, from

MLA Format

"Truman Show Cunningham, Douglas."  18 March 2012.  Web.  25 May 2019. <>.

Chicago Format

"Truman Show Cunningham, Douglas."  March 18, 2012.  Accessed May 25, 2019.