Blackfish / White Lies? (Pt. 2): The Art Of Advocacy Film-Making

Click here to read Blackfish / White Lies? (A Prologue)

Click here to read Blackfish / White Lies (Pt. 1):  Sorry, I Forgot to Mention, They’re All Activists

Click here to read Blackfish / White Lies (Pt. 3): Undisclosed Facts & Muddled Messages

Click here to read Blackfish / White Lies (An Epilogue):  Responding To Your Comments

“I had to decide that my structure was going to be to tell the truthful, fact-driven narrative from beginning to end, following Tilikum’s trajectory through the eyes of the former trainers, that I can just tell the truth and lay out the facts.  Someone said that if you try too hard to do “on the one hand, but then on the other hand,” you may become faithless to the truth.  And so, if I just promise myself that I would not sensationalize, not shoehorn information in there that will manipulate people into feeling things and stick to the fact-driven story, then that is a story that people need to hear.“

Gabriela Cowperthwaite, describing Blackfish (available at http://collider.com/gabriela-cowperthwaite-jeffrey-ventre-blackfish-interview/).  

Is this accurate?  Is Blackfish really just an un-sensationalized piece of documentary film-making that doesn’t try to “manipulate people into feeling things?”  Does Blackfish simply “stick to a fact-driven story?”  That’s the question and the point of this series.  Ms. Cowperthwaite has given interviews to at least two media outlets claiming that Blackfish is just a straightforward presentation of “fact driven narrative,” without advocacy.  I do not see how that can be a credible claim given the inherent bias of the people involved (the discussion of my last entry), the structure and film-making tricks used seemingly for the sole purpose of “manipulate[ing] people” into considering only one side (the subject of this piece), and the inconsistent and sometimes demonstrably incorrect statements presented in the film (the subject of the next, and last, piece).  

Blackfish / White Lies? (Pt. 1): Sorry, I Forgot To Mention, They're All Activists

Click here to read Blackfish / White Lies? (A Prologue)

Click here to read Blackfish / White Lies (Pt. 2):  The Art of Advocacy Film-making

Click here to read Blackfish / White Lies (Pt. 3): Undisclosed Facts & Muddled Messages

Click here to read Blackfish / White Lies (An Epilogue):  Responding To Your Comments

“Proof of bias is almost always relevant because the jury, as finder of fact and weigher of credibility, has historically been entitled to assess all evidence which might bear on the accuracy and truth of a witness' testimony.”

United States v. Abel, 469 U.S. 45, 52 (1984). 

Former Chief Justice of the United States Supreme Court William Rhenquist wrote these words nearly 30 years ago.  They are as true in the Court of Public Opinion as they are in a court of law.  Blackfish has a lot of “testimony” that is presented without any hint of potential bias – quite the opposite actually.  Director Gabriela Cowperthwaite strongly suggests the outright credibility of most of the people who appear in the film.  After all, who better to speak about what is going on with SeaWorld’s whales than a bunch of ex-trainers who spent years working with them?  Who better to explain the science behind orca behavior and biology than experts in the field and a neuroscientist who has studied the brain of a killer whale up close?  Since Blackfish provides no background on any of these individuals, other than what is necessary to establish their credibility, the “jury” in the Court of Public Opinion is left with nothing to assess the true credibility of their “testimony.”  In a court of law, questions of bias are raised through cross examination.  Similarly, in true journalistic pieces, the journalist “cross examines” his or her source by, for example, playing the “devil’s advocate” and challenging them to explain, debunk, or address potential sources of bias.  Cross examination and journalistic honesty are vital tools that allow the audience to decide for themselves whether what is being said is “the truth, the whole truth, and nothing but the truth.”  But in Blackfish, there is no “cross examination” of the "witnesses" the "jury" is expected to believe.  Consequently, it is easy to view Blackfish as telling its story though an objective lens.  But that’s just not the case.

PETA’s Frivolous Suit Against SeaWorld Alleging Orca Slavery: It Doesn’t Get Much More Black and White Than This (UPDATED 2/9/12)

On Monday, a federal magistrate judge heard argument on whether to dismiss a relatively recent lawsuit brought against SeaWorld by People for the Ethical Treatment of Animals (“PETA”) that raises an unprecedented and patently frivolous claim – even for an organization known for taking some pretty unreasonable positions.  The lawsuit is captioned Tilikum v. SeaWorld Parks & Entertainment, Inc. and it is pending in the U.S. District Court for the Southern District of California before Magistrate Judge William McCurine, Jr..  Now, I suspect many of you who read my blog (and thus, presumably have an interest in the amusement industry) will immediately recognize the named plaintiff despite the fact that he is not, in fact, a human being.  Tilikum is an orca – the very orca that killed SeaWorld trainer Dawn Brancheau last year after a performance at SeaWorld in Orlando.  Tilikum and four other orcas, speaking (not surprisingly) through actual human beings (a procedure that I won’t get into in this article), “claim” that they are being held against their will and subjected to slavery and involuntary servitude in violation of the 13^th Amendment to the United States.  The basis of such a claim?  The 13^th Amendment never specifically says that it only applies to “people” so, naturally, it must also apply to orcas.  The breadth of the Plaintiffs’ argument is as utterly astounding as it is facially foolhardy and frivolous.  This is the very definition of a lawsuit brought for no other purpose than to bring publicity to the plaintiff and to harass SeaWorld.