the mirror effect

I’ve been re-reading Daniel Boorstin’s classic 1961 work of social criticism The Image: A Guide to Pseudo-Events in America (which is extraordinarily fresh and insightful for a 45-year-old book, by the way, but that’s a topic for another day).

Underlying Boorstin’s thesis of a mid-twentieth-century American populace transfixed by images is his notion that advertising—or any kind of marketing—succeeds by holding up a mirror to potential customers and offering them an enticing, image of themselves (more on this another day, but let’s just say for now that advertising is about fantasy-fulfillment).

Now, along comes the NYT’s Elisabetta Povoledo to tell us that Italians are transfixed by a six-part TV biopic, “The Boss of Bosses,” because the mirror it holds up to its audience shows a somewhat less than flattering image of itself [e.a.]:

“Italy has always been fascinated by the Mafia, by its personification of evil,” [a reporter] said in a phone interview.

Another possible explanation for the popularity of “Il Capo dei Capi” may be that it goes beyond mere storytelling and puts Italy in front of an unflattering — if engrossing — mirror of itself. It suggests that if Mr. Riina became the most formidable and feared mobster in Italian history, it was thanks to the collusion of political and economic forces at various levels of Italian society.

“It’s not fiction — it’s a real story that tells 50 years of Italian history, and it names names,” said Pietro Valsecchi, who produced the series. “It tells us just what sort of country we have been living in, it shows us the complicity of the state, it puts the Mafia in our face.”

There’s some evidence for the notion that its roots in reality drive the popularity of the series:

“The Sopranos,” the HBO drama about Italian-American bad guys, never caught on here.

The producer gets the last word [e.a.]:

Fictionalizing reality may be the best way to educate Italy’s distracted audience, Mr. Valsecchi said. “Italians don’t read newspapers — they barely glance at headlines. But here they’re getting the full story, with all its implications.”

Well, he gets the next-to-last word. I get the last word, which is a minor amendment to Mr. Valsecchi’s proposition: Fictionalizing reality is a way to infotain an audience—that is, to capture its attention. But let’s not get carried away. That is different from educating the audience.