Representation of journalists in Samuel Fuller’s newspaper lms:
Park Row
(1952),
Shock Corridor
(1963) and
The Madonna and the Dragon
(1990)
Representación del periodista en las newspaper lms de Samuel Fuller: La voz de
la primera plana (1952), Corredor sin retorno (1963) y Tinikling ou ‘La madonne
et le dragon’ (1990)
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| 383
July-December of 2024
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Albaladejo-Ortega, S. (2024). Representation of journalists in Samuel Fuller’s newspaper lms:
Park Row
(1952),
Shock Corridor
(1963) and
e
Madonna
and
the Dragon
(1990).
Doxa Comunicación
, 39, pp. 383-400.
https://doi.org/10.31921/doxacom.n39a2132
Sergio Albaladejo-Ortega.
Professor in the Faculty of Social Sciences and Communication of the Universidad Católica
de Murcia (Spain), where he teaches ‘Audiovisual Fiction’, ‘Journalism and Cinema’, ‘Documentary’ and ‘Communication
and Graphic Art’. PhD in Communication from the same university, his main eld of research is transmedia narratives
and, more specically, transmedia literacy. He also works on other lines of research related to cinematographic and
video entertainment narration. He has recently published the chapters
Transmedia Quest: una herramienta para
incrementar la transalfabetización ante el riesgo de la infodemia
(Tirant lo Blanch, 2024),
El Madrid de ‘Los Golfos’
(Fragua, 2023),
‘A Ghost Story’: paradigma de la fantasmagoría hipermoderna
(Ediciones Universidad de Salamanca,
2022),
Game-Based Learning for the Acquisition of Transversal Skills: Preventing and Addressing Hate Speech
(IGI
Global, 2022) and
‘Death stranding’ (Kojima productions, 2019), culmen de la cinemática cinematográca en entornos
videolúdicos
(Tirant lo Blanch, 2020). He has co-coordinated the monograph “Ludo-narrative culture: meeting points
between traditional media and video games” (2020) for
Miguel Hernández Communication Journal
. He is a member
of the Spanish Association for Communication Research (AE-IC) and the Digitalac research group, where he works on
Transmedia Narratives.
Universidad Católica de Murcia, Spain
[email protected]
ORCID:
0000-0003-1102-3243
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Received: 30/10/2023 - Accepted: 20/12/2023 - Early access: 15/01/2024 - Published: 01/07/2024
Recibido: 30/10/2023 - Aceptado: 20/12/2023 - En edición: 15/01/2024 - Publicado: 01/07/2024
Abstract:
e representation of journalism on the big screen, the origins of which
are to be found in the very birth of cinema, has evolved along with the
medium itself, giving rise to very dierent portrayals of journalists
both in those lms that give an indisputable centrality to journalism
and in others where journalists’ work gures merely as a backdrop.
Regarding the former, termed ‘newspaper lms’, these are movies
which, despite their relationship with other genres, allow a closer and
supposedly detailed look at the journalistic genre. is paper examines
Resumen:
La representación del periodismo en la gran pantalla, cuyos orígenes
se hallan en el propio nacimiento del cinematógrafo, ha ido evolucio
-
nando con el propio medio, dando lugar a muy distintos retratos de los
periodistas fílmicos tanto en películas que otorgan una centralidad in
-
discutible a lo periodístico como en aquellas otras que lo utilizan como
telón de fondo. Respecto a las primeras, denominadas newspaper lms,
se trata de obras que, a pesar de su puesta en relación con otros géneros,
permiten una mirada más próxima y pretendidamente minuciosa al
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July-December of 2024
Representation of journalists in Samuel Fuller’s newspaper lms:
Park Row
(1952),
Shock Corridor
(1963)...
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
1. Introduction
Cinema and journalism have not only co-existed since the very rst days of cinema but forged a lasting relationship in the
medium of lm even before cinema was cinema. e rst representation of a news professional in a medium based on the
projection of images using a magic lantern occurred in the so-called pre-cinema, specically with the 1894 picture play
1
Miss
Jerry
(Novoa-Jaso et al., 2019; Osorio, 2009), in which a woman begins a career as a journalist to help her father nancially
and ends up forming a romantic relationship with the editor of the newspaper where she works. is rst manifestation of
the world of the press would be followed, as cinematographic works and not creations for the magic lantern prior to the
Lumière brothers’ invention, by the journalism-themed short lms
War Correspondents
(William Paley, 1898) and
e Flight of
Reporters: e Dreyfus Aair
(Georges Méliès, 1899).
After the initial impulse that these short lms supposed, an enormous diversity of lm productions has built up a great
corpus
of works in which journalists have a leading role –the so-called ‘newspaper lms’
(Langman, 1998)– or, failing that, where
journalism serves as the background for stories belonging to genres as diverse as lm noir, war or drama (McNair, 2010). is
is a universe made up of lms ranging from the silent short lm
Terrible Teddy, e Grizzly King
(Edwin S. Porter, 1901)
, the
Fantômas
lm series (Louis Feuillade, 1913-14) or the Buster Keaton comedy
e Cameraman
(Edward Sedgwick, 1928), to
others such as
e Front Page
(Lewis Milestone, 1931),
Foreign Correspondent
(Alfred Hitchcock, 1940),
e Big Carnival
(Billy
Wilder, 1951),
Advise and Consent
(Otto Preminger, 1962),
e Parallax View
(Alan J. Pakula, 1974 ),
Missing
(Constantin Costa-
Gavras, 1982),
e Bonre of the Vanities
(Brian De Palma, 1990),
Zodiac
(David Fincher, 2007),
e Post
(Steven Spielberg,
2017), or
She Said
(Maria Schrader, 2022).
1
Picture play, the invention of pre-cinema pioneer Alexander Black, allowed photographic slides, accompanied by live narration, to be projected on a screen with
the illusion of movement, making it possible to follow the story the images were telling (Remshardt, 2004).
the three lms about journalism that, in the extensive lmography of
the American lmmaker Samuel Fuller, have the fourth estate and
its practitioners at the heart of their plots:
Park Row
(1952),
Shock
Corridor
(1963), and
e Madonna and the Dragon
(1990). Starting
from the hypothesis that there is a heterogeneous representation of
the journalists who embody the lead roles, the aim is to analyse the
journalistic proles represented therein, as well as the values, anti-
values and ethical codes which determine these proles.
Keywords:
Cinema; journalism; newspaper lms; Samuel Fuller; content analysis.
propio género periodístico. El presente artículo examina las tres pelícu
-
las periodísticas que, en la extensa lmografía del cineasta estadouni
-
dense Samuel Fuller, han convertido el cuarto poder y a quienes lo ejer
-
cen en indiscutibles protagonistas de sus tramas: La voz de la primera
plana (Park Row, 1952), Corredor sin retorno (Shock Corridor, 1963) y
Tinikling ou 'La madonne et le dragon' (e Madonna and the Dragon,
1990). Partiendo de la hipótesis de que existe una representación hete
-
rogénea de los periodistas que encarnan sus personajes protagonistas,
se persigue analizar los perles periodísticos representados en ellas, así
como los valores, contravalores y códigos éticos que los determinan.
Palabras clave:
Cine; periodismo; newspaper lms; Samuel Fuller; análisis de contenido.
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e multiplicity of creations of this nature has allowed very disparate perspectives on journalism to coexist in the history
of cinema and, as a consequence, very heterogeneous representations of journalists, since “while there are plots in which
reporters are impeccable professionals, many others show news people who are far from exemplary” (Tello Díaz, 2016: 10).
ese issues have been addressed in the academic eld, paying attention to both the portrayals and projections of journalism
on the big screen (Bunyol, 2017; De Felipe & Sánchez Navarro, 2000; Santillán-Arruz, 2018; Ness, 2020; San José-De la Rosa
& Gil-Torres, 2022; Serrano-Martín, 2022), as well as the construction of journalists’ proles in audiovisual ction (Ehrlich
& Saltzman, 2015; Bezunartea et al., 2008; Tello Díaz, 2011; San José-De la Rosa, 2019; San José-De la Rosa et al., 2020; San
José-De la Rosa et al., 2022) and journalistic ethics in the cinematographic eld (Good, 2007; Bezunartea et al., 2007a; Good &
Dillon, 2002; Serrano-Martín et al., 2022).
Regardless of whether the profession has been represented as something primary or secondary in each lm, these varied
approaches show that, when talking about newspaper lms, “journalism is unquestionably the subject of the work; the source
of the dramatic tensions and narrative structures which fuel the plot; the focus of the dilemmas and challenges driving the
characters” (McNair, 2010: 23). From the representation of journalists in the rst silent lms as a kind of independent detective,
to their denition in more recent lms as a cog in the media machinery (Saltzman, 2002; Bezunartea et al., 2007a), big screen
news professionals have had to “assume the enormous responsibility that comes with the dissemination of information in the
delicate relationship between society-government-power groups” (Santillán-Arruz, 2018: 96). Consequently, the reporter is
an interesting prole in cinematographic ction, since it allows the confrontation between good and evil to be represented,
generating meaning through contrasts or dualities, in stories in which citizens’ rights are at stake (San José-De la Rosa, 2019;
Ehrlich, 2006).
When proposing the conception of journalism lms as a genre (Langman, 1998; Good, 2007; Osorio, 2009; De Felipe & Sánchez
Navarro, 2000; Arts, 2022), some of their advocates recognise that, while it is true that they cannot strictly be limited to a pure
genre, there is a close relationship between them all, oering “a range of narrative options which is far more vigorous and
exible than any other” (Rossell, 1975: 14). It is precisely this versatility and ability to deal with universal themes from dierent
generic conceptions that has allowed it, through its various stages, to address the contradictions apparent both at the heart
of journalism and in culture, favouring a better chance for “starting a dialogue about ethics than nishing it” (Good, 2007: 5).
1.1. Proles of journalists on the big screen
e diversity of big screen representations of professional journalists mentioned above is especially interesting to the extent
that many of them start out from a real event to then ctionalise similar situations and, consequently, lm journalists end
up sharing many traits with their esh and blood peers (Mera-Fernández, 2008; Bezunartea et al., 2007b). Inuenced by the
commercial policy of the medium they work for, which conditions their ethics and freedom of action, the characters often put
their professional career and personal integrity on the line (Serrano-Martín et al., 2022; Bezunartea et al., 2010), which gives
rise to a great diversity of proles that, far from being limited to the hero-villain dichotomy (McNair, 2010; Ehrlich & Saltzman,
2015), frequently oers complex portrayals of those responsible for exercising the power of the fourth estate.
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Park Row
(1952),
Shock Corridor
(1963)...
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When classifying big screen proles of journalists, the taxonomy employed by Novoa-Jaso et al. (2019) is particularly relevant,
grouping them in a complex typology constructed upon previous cataloguing carried out by some of the subject’s chief
scholars (Barris, 1976; Langman, 1998; Saltzman, 2002; McNair, 2010). e types of journalists that they establish, based on the
synthesis of the various prior approaches, are the following:
–
the newshound, or aggressive crime buster, who performs detective work, sometimes resorting to the use of force;
–
the journalist as a human being, dened by internal conicts related to social causes;
–
the sob sister or news hen, a female journalist who, despite a lack of support, champions social causes, frequently with
positive results;
–
the journalist as crusader, normally embodied by an idealistic editor or editor-in-chief, acting in the defence of democracy;
–
the reporter as a foreign or war correspondent, who gets involved in other people’s realities to end up making them his/her
own and trying to solve conicts;
–
the editor with great journalistic instincts, typied as a chain-smoking, moody veteran;
–
the media owner, dened as a villain who makes self-interested use of corporations;
–
the scandalmonger, who is interested in spreading rumours;
–
the anonymous reporter, who moves among the masses and takes advantage of the tools of his/her trade to mould public
opinion;
–
the journalist as watchdog
,
who watches over the powers and the powerful;
–
the rst-hand witness, who is present at the events and has information that may be threatening;
–
the journalist as an artist, personied in novelists or writers;
–
other villains of the profession, such as rogue, con man, or king-maker, who allies himself with the powerful
All these proles are dened by a series of values and anti-values that condition their consideration as characters leaning
towards the heroic or the villainous. ey can be classied based on a series of features that, following Quirós (2015), are of
special importance in the construction of the journalist’s prole. us, the following can be identied as values:
–
professional integrity (independence, freedom, and honesty);
–
defence of freedom of information;
–
service of the common good;
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–
professional dignity and loyalty to the profession;
–
intellectual responsibility, tolerance, and moderation in controversies;
–
social and professional responsibility / respect for institutions (democratic, judicial, and journalistic)
In contrast, the following stand out as anti-values:
–
disloyalty / lack of solidarity;
–
lack of professional and personal dignity;
–
corruption;
–
blackmail;
–
lying / manipulation / lack of rigour / sensationalism
Lastly, in close relation to these values, it is vital to pay attention to the ethical codes that dene journalists’ best
praxis
, the
work of Banning (2020) being important here for its concision and for oering the option of extrapolation to an international
context, listing the following:
–
responsibility;
–
press freedom;
–
independence;
–
sincerity, truthfulness, and accuracy;
–
impartiality;
–
fair play;
–
decency
ese dierent categorisations can be considered to be enduring as they correspond both to archetypal and universal ethical
and moral traits, fundamental for the conguration of the methodological apparatus explained below, they make it possible
to approach proles of journalists both in lms of the past and the future. Consequently, they also form an extremely useful
theoretical
corpus
to address the works of a lmmaker as singular as Samuel Fuller, on whom the following section focuses.
1.2. Samuel Fuller: from reporter to lmmaker
e gure of the American lmmaker Samuel Fuller is both complex and controversial, since he is a creator who dened his
lms as front-page material, thus alluding to his taste for images that embrace the “forcefulness and urgency of newspaper
headlines”, and to their being charged with “a spirit of synthesis, extreme stylisation and a graphic aggressiveness typical of
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Shock Corridor
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comics” (Guarner, 1993: 6). Truely prolic, he left a legacy of 23 feature lms and a dozen television lms as a director, a score
of scripts and plots –be they credited or uncredited–, twelve novels and over twenty appearances as an actor (Casas, 2001),
these traits dene the majority of his works as a screenwriter, novelist, director and occasional actor.
However, before becoming a fundamental gure in the history of the seventh art, he started out in the fourth estate, as he
began as a newspaper seller and copy-boy
for the
New York Journal
at the age of thirteen and, just four years later, was a crime
reporter for the
New York Evening Graphic
. He worked as a freelance investigative journalist covering the worst aspects of
Depression-era America and gained something of a reputation as a writer of pulp novels
(Billington, 2018; Polan, 2000). His
rst novel
Burn, Baby Burn
was published in 1937, a year after writing his rst script for the lm
Hats O
, directed by Boris
Petro. However, it was not long before he was called up, having to go, in the words of MacKay (2022), from the front page to
the
front line
,
ghting
in the Second World War with the First Infantry Division, called the “Big Red One”, and being decorated
with a Bronze Star, a Silver Star and a Purple Heart (Sanjek, 1994; Narboni, 2022).
Upon his return, he began directing lms in Hollywood, making his debut in 1949 with the western
I Shot Jesse James
, going on
to make more than twenty lms for the big screen that address all types of lm genres and among which are titles as renowned
as the
lm
noir
movies
Underworld USA
(1961) or
Pickup on South Street
(1953); the dramas
e Naked Kiss
(1964) and
White
Dog
(1982); the westerns
Forty Guns
(1957) and
Yuma
(1957); the war movies
Fixed Bayonets!
(1951) and
e Steel Helmet
(1951); and the newspaper lms
Park Row
(1952) and
Shock Corridor
(1963). Nonetheless, it should be noted that, as Latorre
(1975: 21) indicates, “if Fuller’s lms are part of genre cinema, they deviate from it […] because they openly elude its imagery
and conventions, they do not allow themselves to be neutralized and do not sit well with mythication”.
Fuller applied the narrator’s art to his cinema work, merging his journalistic, novelistic and scriptwriting facets (Narboni,
2022), demonstrating that he was “capable of dreaming up ideas from any material, no matter how demeaned it may be, to
create a personal universe of reluctant classicism but, at the same time, attentive to the turbulent changes of the times” (Casas,
1990: 64). His training as a journalist and the great devotion he felt for the profession led him to apply strategies and adopt
perspectives in his lm production that were typical of journalism, whilst making countless statements throughout his career
in which he recognised the connections between the two disciplines. Deeming that “every journalist is a potential lmmaker
who only has to transfer real emotion to reel emotion and sprinkle it with imagination,” he conceived of the camera as a
typewriter and considered that “a headline has the impact of a headshot [and that] a news lead is the opening of a lm” (Fuller,
1975: 20-22). is is reected in most of his lms’ opening scenes, and in the titles that accompany them, which, like tabloid
headlines, state their themes as eagerly as any witness-reporter (Sanjek, 1994; Casas, 2001; Faroult, 2018).
Connecting his lms with journalism, he found “his drama in the quotidian and the sensational, the everyday event made
remarkable” (Staneld, 2011: 116). However, while many of the lms he directed during his sixty years behind the camera
include visual and verbal references to newspapers, only
Park Row
(1952) and
Shock
Corridor
(1963) explicitly address issues
of journalistic truthfulness (Capp, 2007). Added to these is a third work, the television feature lm
e Madonna and the
Dragon
(1990), Fuller’s last lm as a director. In this movie, as a testament, he played an editor-in-chief, a position that he
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would surely have liked to occupy, had he risen in the profession which, as he himself said, provided him with the greatest and
most unrepeatable emotion he felt in his life: seeing his by-line in a newspaper (Fuller in Schickel, 2002).
1.3. Objectives and hypotheses
Regarding the evolution of big screen representations of journalists, this study has set the three Samuel Fuller lms mentioned
above as its object of study –these being
Park Row
(1952),
Shock Corridor
(1963) and
e Madonna and the Dragon
(1990)–,
the only ones in his entire lmography that belong to the genre termed ‘newspaper lms’. Although the third is clearly far later
than the previous ones, and is a made-for-television movie, it is considered perfectly relevant to include it here as, despite its
dierent nature, it was lmed utilising eminently cinematographic means and processes, being the American director’s nal
lm. Based on the hypothesis that highly heterogeneous archetypes of news professionals appear in these three lms, the
aim is to analyse the dierent journalistic proles represented in the characters portrayed. As secondary objectives, though
associated with this main objective, this study aims to elucidate the values and anti-values that dene these characters, to verify
to what degree they comply, when going about their professional business, with the ethical codes that mark the deontology of
news professionals, and the way in which the themes, generic conventions and characteristic stylistic features of the director
inuence the mise-en-scène of the futures of these men and women of the press.
2. Method
To achieve the aforementioned purposes, two dierent methods have been utilised: rstly, a bibliographic review of previous
approaches to the representation of journalism and journalists in cinema, considering both academic papers and books
referring to the issue; secondly, and based on the above method, an analysis of the three movies that make up the object of
study using the three tables below as a tool.
e rst (Table 1), following the classication employed by Novoa-Jaso et al. (2019), is intended to record the proles of
the journalists personied in the feature lms, oering the possibility that several proles coincide in the same character,
providing it with dramatic development and, making use of archetypes, managing to add complexity to the narrative in which
the journalist nds himself/herself involved.
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Shock Corridor
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Table 1. Personalised proles of journalists
JOURNALIST PROFILES
Park RowShock Corridor
e Madonna and
the Dragon
Newshound / Aggressive crime buster
Reporter as a human being
Sob sister or news hen
Journalist as crusader
Foreigner / Foreign correspondent / War correspondent
Editor
Media Owner [Villain]
Scandalmonger [Villain]
Anonymous Reporter [Villain]
Watchdog
First-hand witness
Journalist as artist
Bad guy of the profession: rogue, con man, or king-maker
Source: created by the author based on Novoa-Jaso et al. (2019)
e second table (Table 2), addresses the categorisation of the values and anti-values of the journalists represented on
screen carried out by Quirós (2015), allowing for the gathering together of both the positive and negative traits that dene the
journalistic proles embodied by the characters. ere is also the possibility that the same character may display traits of both
types during the story, thus marking their development and function in the plot.
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Table 2. Values and anti-values represented
VALUES AND ANTI-VALUES
Park Row
Shock
Corridor
e Madonna and
the Dragon
Values
Professional integrity (independence, freedom,
and honesty)
Defence of freedom of information
Serve the common good
Professional dignity and loyalty to the
profession
Intellectual responsibility, tolerance, and
moderation in controversies
Social and professional responsibility / Respect
for institutions (democratic, judicial, and
journalistic)
Anti-values
Disloyalty / Lack of solidarity
Lack of professional and personal dignity
Corruption
Blackmail
Lying / Manipulation / Lack of rigour /
Sensationalism
Source: created by the author based on Quirós (2015)
e third and nal table (Table 3), gathers the ethical codes that dene journalistic deontology according to Banning (2020),
thus seeking to make it possible that, together with the values and anti-values, one may examine the degree to which said
codes are respected by the journalists portrayed in relation to the roles they play in the story. It is therefore possible to identify
the way in which they aect the progress of the plot, and the dierent messages and meanings that emerge regarding the
doings of the fourth estate.
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Shock Corridor
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Table 3. Symbolised ethical codes
ETHICAL CODES
Park RowShock Corridor
e Madonna and
the Dragon
Responsibility
Freedom of the press
Independence
Sincerity, truthfulness, and accuracy
Impartiality
Fair play
Decency
Source: created by the author based on Banning (2020)
3. Results
e results obtained from the analysis of the dierent aspects that make up the methodological tool are presented below,
broken down by the three lms, rst oering a brief synopsis of each of the movies for better understanding.
3.1. Park Row (1952)
Phineas Mitchell (Gene Evans), a journalist with ideals, is red from
e Star
newspaper for his overzealous ethics, the paper is
run by the ruthless editor-in-chief Charity Hackett (Mary Welch). While Phineas ponders his future in his usual bar surrounded by
colleagues, the chance presents itself of starting his own newspaper and changing the predominant style of sensationalist journalism.
With a new team of professionals, he founds
e Globe
, and
a erce battle begins between the two publications,
e Star
playing dirty
to get rid of this new, threatening upstart. (TCM
,
n.d.)
e proles of journalists represented can be inferred from the conict between Phineas Mitchell and Charity Hackett, who
play two newspaper owners and editors with very dierent motivations and
modus operandi.
Phineas is dened combining
several proles: ‘editor’, showing great journalistic instinct and an enormous ability to make the medium evolve; ‘crusader’,
defending democracy and the right to information from his position as editor; ‘human being’, converting his professional
activity into a means to ght against social injustice; and ‘rst-hand witness’, since he is a direct victim of some of the news
events that aect his own business project and those who form part of it. Despite becoming the owner of a media outlet, he
cannot be conceived as a villain, as his intentions in founding
e Globe
, and the way he manages it, are completely legitimate
and well-intentioned.
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On the contrary, Charity does adopt the role of villain from the prole of media owner, since she acts deplorably to prevent the
loss of the privileged position held by her newspaper
e Star
. However, she cannot be considered a ‘villain of the profession’
in any of the terms used in the classication, since the only thing that would lead to such disqualication would be a violent
attack on
e Globe
’s
press stands
and the destruction of the editorial oce, but these acts are carried out by her henchmen
without her knowledge or consent. Furthermore, she ultimately redeems herself and ends up becoming a positive prole who
agrees to work together with Phineas, helping to establish some of the fundamentals of a new form of journalism.
Regarding the values and anti-values that the main characters embody, Phineas complies with the values of professional
integrity, championing independence, freedom and honesty; defence of freedom of information, this being his main reason
for founding the newspaper; professional dignity and loyalty to the profession, showing noble devotion to journalism; and
social and professional responsibility, although with nuances, since he carries out some questionable acts, such as inciting
Steve Brodie to jump o the Brooklyn Bridge in order to get the story he wanted. Charity, on the other hand, represents the
anti-values of lack of solidarity, trying by all means available to nish o Phineas’s company; lack of professional dignity, since
she goes too far in the service of her newspaper; and manipulation, as he tries to discredit
e Globe
by nefarious means.
Finally, in terms of ethical codes, Phineas respects those of responsibility, freedom of the press, independence, sincerity, fair
play, and decency, although he is not completely impartial when defending his newspaper’s interests. Charity, on the other
hand, breaches all the rules, but ends up giving fair play and decency a chance by agreeing to the merger of the two papers.
3.2. Shock Corridor (1963)
Ambitious journalist Johnny Barrett aims to win the Pulitzer Prize. His plan is to enter a psychiatric hospital, posing as a patient, in
order to investigate a murder committed at the centre. With the help of his girlfriend Cathy and Dr. Fong, he manages to deceive the
doctors, who order his detention. Once in hospital, he tries to gain information from the only three witnesses to the crime: three
inmates whom neither the police nor the hospital’s doctors have been able to get to talk. (Filmanity, 2023)
e character of Johnny Barrett is presented as a journalist who combines the proles of ‘newshound/aggressive crime buster’
and ‘rst-hand witness’, as he inltrates the sanatorium to carry out an investigation that ends up discovering the murderer’s
identity; but also that of ‘con man’, since he passes himself o as a patient to get admitted and thus be able to carry out his plan
with the aspiration of winning the Pulitzer. is makes him a character who wants to embody heroism, but who acts in a way
that dehumanises him and aects his professionalism, crossing the line into villainy. e same thing happens with his boss,
who, wanting to achieve success for his newspaper, helps orchestrate the fraud and endangers his employee’s professional and
personal integrity, nally driving him mad.
As regards values and anti-values, the protagonist does not embody any values because, although his discovery of the
murderer could lead to the common good, he puts his own success rst. erefore, he only embodies the anti-values of lack
of professional and personal dignity, as he not only deceives as a journalist, and involves his girlfriend, despite her continued
reluctance; but also lies and manipulates, by failing to respect the truth and best practices. Consequently, as for ethical codes,
none are embodied in the person of Johnny Barrett.
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e absence of journalistic values and codes in the main character could lead one to think of him as a villain, someone who
acts with the intention of causing harm to society or, at the very least, uses twisted strategies to enrich himself in an unfair and
immoral way. But this is not the case, far from such motivations and means, Johnny Barrett embodies these anti-values due to
narcissism and the desire to become famous, utilising illicit means towards a legitimate end: the solving of a crime. However,
vanity wins out over altruism, which hardly shows him in a heroic light, since he not only compromises his girlfriend but
gradually his own person and profession as well.
Johnny Barrett is in some ways a victim; not only of the situation that he himself has created and which ends up destroying
him, but of the very system that the lm criticises. Samuel Fuller went as far as to say that he wanted to portray America as
a madhouse on the verge of self-destruction, so he had his protagonist confront the ills of contemporary American society:
the consequences of the war, racism, and the arms race (Fuller, 2002). It was a world that he knew well since he started out
chronicling crime and police reports, and he had reported on the enforced connement of mentally ill people and executions
in the electric chair. is perhaps makes
Shock Corridor
’s portrayal of someone trapped with no hope of escape more
understandable and devastating
.
Even if Johnny did get out, he would only end up faced in the outside world by the same evils
that the sanatorium presents in miniature.
3.3. e Madonna and the Dragon (1990)
Two photojournalists who were once a couple, Patty Meredith (Jennifer Beals) and Simon Leterre (Luc Merenda) are covering the
elections in the Philippines, which could end the harsh Marcos regime. ey take a photo of a soldier executing a civilian. Both the
government and the rebels want the photo. (IMDb, 2023)
As happens in
Park Row
, opposition can be perceived between the proles represented by the characters of Patty Meredith
and Simon LeTerre, two ‘war correspondent’ proles with apparently very dierent motivations. e character of Patty
Meredith embodies, above all, the proles of ‘reporter as a human being’ and ‘sob sister’, since her initial motivation is to
raise awareness of the dicult living conditions of the Filipino population by taking photographs of a landll for the American
magazine
Newsworld
. Her intentions connect with a social responsibility that, despite her tenacity and conviction, is not fully
understood by either her colleagues or her boss. Furthermore, when she nds herself involved in a political plot, even nding
her life in danger on several occasions, she champions a cause that she believes is just and necessary, ghting against power
and corruption, which elevates her to the category of ‘journalist as crusader’, and, given her testimony of the ins and outs of a
corrupt system, also a ‘rst-hand witness’. Simon, however, is initially presented as a character who prots from contraband
and rubs shoulders with people of dubious morality, embodying the prole of a ‘rogue’ and, to a certain extent, a ‘con man’.
However, in the rst conversation he has with one of his contacts, it is clear that he is not such a bad person and that he is
probably using his network of contacts for the greater good. is is why, when he later nds himself immersed in the plot, he
begins to seem more like a ‘journalist as a human being’ prole; especially due to his close relationship with the Philippine
boy who accompanies them and helps them in their exploits. And, obviously, he is a ‘rst-hand witness’ and ‘crusader’ who is
willing to do anything to achieve success in this mission against tyranny.
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Regarding the values and anti-values that the main characters embody, Patty complies with all the values: professional
integrity, remaining rm in her posture against her editor-in-chief concerning the need to document poverty and injustice;
defence of freedom of information, heading a crusade in pursuit of the truth; professional dignity and loyalty to the profession,
risking her life to obtain and reveal information; and nally, social and professional responsibility, guided at all times by the
desire to use her professional position to seek justice. Simon, on the other hand, begins as a character brimming with anti-
values, among which disloyalty, corruption, blackmail, and manipulation stand out, but he ends up using all these stratagems
which had previously put him on the side of the villains, in a positive and almost heroic way.
Finally, regarding ethical codes, Patty is guided by responsibility and, from the margins allowed by her subordination to a
news outlet, by freedom of the press and independence, seeking at all times to achieve truth and impartiality by means of
fair play and decency. However, when she has to face corruption and her subsequent persecution, although she remains
steadfast in defence of those primary codes, she begins to act in a way that, although justied in the context, does involve
certain controversy. Simon, for his part, begins by showing no respect for all these ethical codes, exhibiting only freedom of
the press and independence, and even these in a way that was probably not that intended by
Paris Press
, the medium he works
for. However, he nally ends up assuming great responsibility for the Philippine cause and manages to achieve success that
benets, more than himself, the population of that country and Patty, whom he manages to help professionally and personally.
4. Discussion and conclusions
e image of the professional journalist oered by the three feature lms is quite heterogeneous, since, although it is true that in
all three cases these professionals are given a heroic aura –even when their means of reaching the truth may be questionable–,
these are well dierentiated proles that reect dierent ways of conceiving professional practices.
In the case of
Park Row
, the gure of the self-made journalist is placed on a pedestal through its protagonist Phineas Mitchell,
and his particular way of participating in the creation of a printed medium is contrasted with that of his counterpart, Charity
Hackett, a woman who possesses all the technical and human resources necessary but lacks the vision and ethics that
characterise the former. Phineas’s tireless ght to establish a newspaper of which he can be proud leads him to risk everything,
including his life and the lives of those who accompany him on his mission. It is not surprising therefore that the portraits that
line the walls of
e Globe
’s editorial oce
are those of some of the editors that Samuel Fuller admired so much, and which
represent examples for Phineas to emulate. It is signicant that the character of the young copy-boy
can be interpreted as a
tribute to Fuller’s beginnings at the
New York Journal
and the editor can be thought of as someone Fuller would have wanted
to be like had he stayed and prospered in the newspaper business. In a retrospective of his lms at the 1969 Edinburgh Film
Festival he admitted that he would have liked to own and edit his own newspaper (Hardy, 1970).
Shock Corridor
raises a question as fundamental for journalists’ ethics as that of whether the end justies the means. e
protagonist’s motivations are more related to the desire to achieve fame and celebrity than to unravelling the crime committed
in the sanatorium which he inltrates pretending to be a patient. e fact that he ends up falling victim to his own trap reects
the serious consequences that absolute involvement in the events to be covered and investigated can have; a failure that was
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signposted in the opening scene where Johnny Barrett meets with his boss Swanson and Dr. Fong. While they rehearse the
deception of the sanatorium’s evaluator, the psychiatrist’s diploma hangs crookedly on the wall and he straightens it, which
suggests perhaps, on the one hand, that this possibility of correcting any possible deviation in the plan can only happen in
the rehearsal, and, on the other hand, that the professionalism of those gathered there is being questioned and put in danger.
e lead roles in
e Madonna and the Dragon
, Patty Meredith and Simon LeTerre, show the circumstances of two war
reporters who have been integrated in very dierent ways into a kind of threatening microcosm dominated by the will to
survive. Although it is true that they begin from contrasting ethical and moral proles, later, guided by their determination to
obtain photographs that can change the state of crisis in the country, they align not only their ends but their means as well. She
becomes involved in a plot of political corruption and takes up “the arms” that she previously intended to avoid at all costs,
while he continues to use those illegal and immoral tools, no longer for his own benet but rather for that of the country he
intends to help. It is interesting to note the fact that the oce walls of the media correspondents in Manila feature photos of
real Philippine life, thus showing that the journalists are no longer inspired by big-name editors, as in
Park Row
, but by the
people –be they inuential or ordinary– of the country.
e three movies are notably dened by the features that characterise Samuel Fuller’s style and give a good example of his
particular conception of journalism. His romantic vision of the profession, both through the gure of the journalist, as well
as the editor and the war reporter, resides fundamentally in the construction of his characters, who embody a combative,
adventurous spirit endowed with a darker side that serves to humanise characters that function as archetypes more typical
of a fable. e end of all three lms, the characters having gone through a whole series of adventures that have tested them
personally, professionally, and privately, oers a lesson in the purest
Fullerian
style, consisting of confronting the viewer with
the consequences of the characters’ actions.
Despite the fact that they are cinematographic ctions focused on journalistic practices and could be classied within the
newspaper lms genre, the analysis reveals that the three pieces undoubtedly belong, due to both content and form, in other
genres already covered by Fuller. e three movies are closely related to drama, as well as, in the case of
Park Row
, to
noir;
to
prison drama in
Shock Corridor
; and to war, social and political cinema in
e Madonna and the Dragon
.
By virtue of all these dierent formal features concerning content, Fuller builds in all three cases a reection on the United
States; in the rst two lms, from a more domestic point of view, while, in the case of the third, through its presence and
relationship with other nations. Adopting a critical vision which stems from his training as a journalist, his lms reect an
American quest that “undercuts its personal purity by nding strength in a malevolent violence […] or in political corruption”
(Polan, 2000: 363-364), which gives greater importance to his defence of press freedom and its responsible use for the benet
of a country that, with all its good points and bad, he portrays from a critical vision not exempt of a certain idealism.
In short, Samuel Fuller’s newspaper lms
manage to materialize the type of approach to journalism that he always wanted to
achieve, a desire that he expressed thusly:
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All the news that was unt to print, all the scenes that were unt to shoot, would make one hell of a newspaper lm. It would have
facts, legitimate characters, humor, shock, action. It would entertain and reveal. It would have the language of newspaper type
spoken with esh. It would show the passion of the printed word take on instant intimacy on lm. It would go beyond the Bible, the
newspaper, the stage. It would make words jump to life in shocking closeups. From Gutenberg to Grith, it would transfer from type
to screen an accurate, shattering emotion of movement seen with eyes, heard with ears, and never forgotten with the brain. […] To
make such a newspaper lm I would give my right Linotype. Perhaps one day... soon. (Fuller, 1975: 24)
However, just as he refused in many cases to put the words ‘e End’ when concluding his lms, inviting the viewer to
continue with the story (Narboni, 2022), he did not feel he had achieved that denitive lm about journalism, which once
again demonstrates his tireless romantic ambition to strengthen –even more than he already had– the link between cinema
and journalism.
5. Acknowledgments
is article has been translated into English by Brian O´Halloran to whom we are grateful for his work.
6. Conict of interest
e author declares that there is no conict of interest contained in this article.
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