McDonald, 1

Andrea McDonald

Writing 2202

Melanie Green-Barteet

April 6 2012

Television and Torture:

The Legitimization of Unlawful Interrogation Techniques on Television

Torture on television has become romanticized as an effective technique of

interrogation. On crime, drama, political, and procedural dramas, torture is often

depicted as a successful means to retrieve information when necessary. After watching

an action or drama created for prime-time television it is easy to get caught in the realm

of representation and assume that torture as a technique of interrogation is effective.

Television can mobilize and engage its mass audience, therefore, television shows hold

political responsibility to remain accurate when depicting highly sensitive and relatively

divided subject like torture (Hartley 412). Historically, the villains were seen to torture,

representing negative connotations to the interrogation style. What has become

problematic is the increase of torture perpetrated by the heroes or antagonists

(Sutherland and Swan 132). These heros use torture techniques when facing an

imminent threat of terror to almost always retrieve information that will allow the

situation to resolve. However, these depictions are increasingly inaccurate. Studies

show that interrogation tactics that involve torture often do not promote security, and

often produce false information. Popular television shows have the ability to represent

and present ideas to millions and can influence public opinion. Therefore, depictions of
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protagonist induced torture on prime time television programs are problematic in

validating torture as a justifiable means of interrogation.

Prior to addressing representations of torture on television, one must address the

fundamental aspects of torture in real world settings. First, Article 5 of the Universal

Declaration of Human Rights reads No one shall be subjected to torture or to cruel

inhuman or degrading treatment or punishment (United Nations General Assembly 2).

Therefore, torture is an unjust practice as described by the United Nations. Second,

studies have shown that torture is ineffective. Neurobiologist Shane OMaras, in his

book Why Torture Doesnt Work: The Neuroscience of Interrogation, studied the

intricacies of a brain under stress to demonstrate that torture that a is at best

ineffective, usually counterproductive, and always inhumane (OMara 1). OMara is not

the first to come to this conclusion; many studies have revealed the same results.

Therefore, televisions sensationalized depictions of torture as an effective means of

retrieving information is problematic as it defies the Universal Declaration of Human

Rights, and has been proven as ineffective in real world practices.

Torture depictions on television can be found on many current and past prime-

time television shows such as 24, Alias, Homeland, The Fringe, Lost, Threat Matrix and

more. Of all the television shows that use torture in their storylines the 2001-2010 show

24 is the most well known for its consistent use of torture. Kiefer Sutherland stars in the

procedural drama as Jack Bauer, a Counter Terrorist Unit agent, seen below in Figure 1

and 2. Jack Bauer openly endorses torture in the fictional narrative to protect his country

from imminent threats of security (Tasker 50). What is unique about 24 is its real time

narrative: each episode is around 42 minutes of television time and represents an hour
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of the narrative. When watching viewers become involved in the liveness becoming

increasingly invested in the plotline: as Jack is pressed for time, his viewers feel the

same sense of urgency. According to Donal OMathuna torture on 24 both reflects a

way the world has become, and makes it easier to accept torture in practice (94).

OMathuna then cites a 2006 BBC News study that found one third of 27 000 people

surveyed in 25 different countries said that some degree of torture should be legal when

facing terrorists to retrieve information that could save innocent lives (94).

Figure 1. Kiefer Sutherland as Jack Bauer Figure 2. Kiefer Sutherland as Jack Bauer

using torture on 24. (24.wika.com) using torture on 24. (tvtropes.org)

While torture on television is often fictional depictions on television violence often

mimics real world happenings. For example, when looking at Figure 3 one can see the

rise of terror depictions on television following the 9/11 terrorist attacks. Tasker claims

as themes of political violence circulated after 9/11 attacks television programs

mimicked and adopted these real world themes into their narratives. Television

depictions of torture circulated as a means of gaining control over the current mood

uncertainty surrounding terrorism (47). Televisions representations of violence works in

a feedback loop; representing world views and re-presenting them back to society. The
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accuracy of torture depictions is then imperative in re-informing and up-dating citizens

on the political mood of the time. Television not only created the largest imagined

community the world has ever seen (the TV audience) but functioned as a teacher of

cultural citizenship. (John Hartley 412) As television fiction holds the agency to teach a

cultural citizenship accurate representations become imperative. This becomes

problematic as viewers associate sensationalized scenes of torture with real world

policies as a means of combatting terrorism.

Figure 3. Rise in Torture Scenes following 9/11 (Harpers.org).

There are some representations of torture on television, that while they are not

ultimately accurate are objectively more interrogative when depicting torture. These

representations usually include a guilt or haunting effect on the character that induced

the torture. However, these depictions are still problematic when the narrative is

ultimately resolved due to information received through torture. Whether a television

shows depiction of torture takes a positive or negative view on the practice from a

moral standpoint, it usually portrays torture as effective (Garofalo 1). For example, J.J.
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Abrams exceptionally popular television series Lost aired a torture scene in 2004 during

their first season. The scene features the leader of the group, Jack Shepard, giving

permission to character Sayid Jarrah to torture James Sawyer Ford in attempt to

retrieve asthma medication they believed he had stolen. Before and during the torture

scene we see Jack is visually distraught stating we gave you the chance to tell the

truth and it doesnt have to be this way (Netflix.com 25:38). We also see Sayid is

haunted later by his actions. While it is easy to classify this type of torture

representation as a progressive depiction, the representation loses credibility by

depicting the act of torture as leading to the successful in retrieving information that is

seen as imperative for the plots progression and resolution. While this representation of

torture is progressive in showcasing the emotional aspects associated with torture, the

torture scene is ultimately validated for the audience by the information that is retrieved.

One may argue that torture on television solely appears on sensationalized and

inherently low quality television, however, according to Yvonne Tasker, torture

depictions do not solely appear in low quality television shows but also appear in

critically acclaimed dramas. For example, 24, while notoriously famous for presenting

sensationalized images of torture has won numerous awards. Not only did the show

receive critical acclaim, but the lead actor, Kiefer Sutherland, was constantly awarded

for his performance. The show has been nominated for many Golden Globes, Prime

Time Emmy Awards, and many other prestigious awards. Award winning director and

producer J.J. Abrams also was highly praised for his television shows that contained

sensationalized representations of torture. Some of his television shows included Alias,

Lost, and Fringe, all three shows perceived as quality television, all incorporated
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protagonist induced torture. Tasker argues that representations of torture in quality

television legitimatizes notions of torture in real world. She claims a recent migration of

torture on quality television occurred in the early 21st century. This can be confirmed by

Figure 3: prime-time television, the site for quality television, did not see torture until the

year 2000, which overall affected the public opinion on tortures ability to successfully

retrieve information (44). Yet, these techniques, as previously mentioned, are not

legitimate means of interrogation, and when portrayed on television, namely on quality

shows, will influence viewers perception on torture.

Figure 3. Kiefer Sutherland posing Figure 4. Kiefer Sutherland posing with

with Golden Globe for Best 24 Emmy for Outstanding Drama, and

Performance by an Actor in a Outstanding Lead Actor in a Drama Series

Television Drama Series (24.wikia.com/)

(www.tvguide.com/)
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In conclusion, portrayals of terror on television lead to a normalization and

legitimization of torture as a reasonable means of interrogation. Television programs

reflect and perpetuate public opinion when participating in the rhetoric of homeland

security and terrorism, yet these programs falsely validate torture for a general public.

The actuality of torture techniques can lead to false information, and ultimately disobeys

the law. When television programs attach sensationalized, positive, and an imperative

image of torture to heroisms of the main protagonists torture becomes validated as a

heroic act in the face of terrorism. Popular television programs have the ability to

influence millions of people, and therefore, should reframe from sensationalized

representations of torture.
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Works Cited

Sutherland and Emmy Awards. 24 Wiki. Web.

Gun to Knee. 24 Wiki. Web.

Sutherland, Sharon, and Sarah Swan. Investigating Alias: Secrets and Spies. Ed.

Stacey Abbott and Simon Brown. London: I.B. Tauris, 2007. Print.

Garofalo, Alex. "CIA Torture Report Shows Disparity Between TV Depictions And

Reality Of Enhanced Interrogations." International Business Times. 12 Oct.

2014. Web. 06 Apr. 2016.

Hartley, John. Uses of Television. London: Routledge, 1999. Print.

Scenes of Torture 1995-2005. Harpers.org. By Scott Horton. Web.

Lost: Confidence Man. Netflix. Web.

O'Mara, Shane. "Why Torture Doesnt Work: The Neuroscience of Interrogation." The

University of Dublin. Print.

Sutherland and Golden Globe. TV Guide. Web.

Tasker, Yvonne. "Television Crime Drama and Homeland Security: From Law & Order

to "Terror TV"" Cinema Journal 51.4 (2012): 44-65. Print.

United Nations General Assembly. The Universal Declaration of Human Rights. Paris,

1948. Print.

O'Mathuna, Donal P. 24 and Philosophy: The World According to Jack. Ed. Jennifer H.

Weed, Richard B. Davis, and Ronald L. Weed. Malden: Blackwell Pub., 2008.

Print.

Jack Bauer Interrogation Technique. Tvtropes.org. Web.