Japanese wide shows rely heavily on ideologically skewed commentators, creating a structure that breeds bias and fabrication. This chapter exposes how preconceived narratives, selective editing, and low-cost “cultural” commentators distort television reporting.

2017-08-01
What follows is a continuation of the previous chapter.
The Structure That Produces Bias and Fabrication.
Kato.
When you apply an Asahi-style “edge,” it turns into fake news.
Suenobu.
Or what you might call “making news.”
Kato.
But that leads to fabrication, doesn’t it.
That applies not only to Asahi but to television as well.
Suenobu.
Mr. Kato, as you know from experience, when you go into an interview, you already have an image like “This is probably how it is,” don’t you.
As you listen on site, there are many times when you think, “This is somehow different from what I expected.”
“In the face of facts, one must be humble” should be the proper attitude of a reporter.
But in many cases, it does not turn out that way.
From the start, the VTR’s title, length, and storyline are already decided, and once it is determined that “this kind of comment is needed,” they persist until that comment is obtained.
Once they capture the expected sound bite, it’s “Got it.”
After that, they cut and connect it however they like, editing and devouring the material.
Kato.
At news agencies, facts come first, so there is no such preconceived notion.
Television is less journalism and more of a news show.
Suenobu.
In the television world, cutting out convenient parts and adding direction is an everyday occurrence.
For someone they want to praise, they use smiling footage and play bright music.
For someone they want to criticize, they use scary expressions and play dark music.
Then they return to the studio and say, “So, what do you think,” prompting commentators to give their impressions.
Who will say what is already known from the planning stage, so it is naturally factored in.
When you see the finished product, for the person singled out for criticism or for reporters who know the field well, it becomes something that makes you wonder, “How did it end up like this.”
Kato.
Commentators really are a serious problem.
On wide shows, all you see are commentators biased to the left.
Why are there so many far-left activists.
Naturally, they make nothing but terrible comments.
Suenobu.
I agree there are far too many, but cultural-figure commentators are cheap, so production costs stay low (laughs).
To be continued.