"Pontypool": Broadcasting the "Language Virus" through Time and Space





    According to Marshall McLuhan's theory of human sensorium, the term medium describes any form of extension of a sense or faculty. Contemporary tele-technologies, including telegraphy, telephony, radio, and television can thereby be considered as extensions of hearing and sight. The author notes that throughout history, these views may become distorted because of the globalization of communication and culture. In correlation with the film "Pontypool," the medium of orality creates the possibility of a "language virus" to become widespread using tele-technologies. I argue that throughout history, words become tainted by ideologies and associations with certain people, groups, or organizations. These terms cause societal disruption and stigmatization when used carelessly and especially in disrespectful contexts. For instance, research available on the science of swearing illuminates that swear words cause harm in situations of verbal abuse, discrimination, and sexual harassment (Jay & Janschewitz, 2012). Furthermore, 
Jay and Janschewitz (2012) explain that:
"the Anglo-Saxon words we say are hundreds of years old, and most of the historically offensive sexual references are still at the top of the offensiveness list; they have not be dislodged by modern slang." 
In other words, a communicative virus could emerge through reference to historical and emotional charged words that are controversial and harmful to members of society.

Harold Innis understands orality and speech through time bias and space bias, two correlating concepts that denote the differences between permanent, heavy, and immobile media such as hieroglyphs and cuneiform, and in contrast, modifiable, lightweight, portable media, including radio and television. These key differences establish the range in which differing communication technologies can be consumed and understood. In "Pontypool," Grant Mazzy uses the space bias of radio to enable his message to be communicated across farther distances and to more listeners; allowing for the separation of the knower from the knowledge and extending the significance and prevelance of the "language virus" and those effected within the film.

References

Jay T., & Janschewitz, K. (2012, April 25). The science of swearing. Association for Psychological Science. Retrieved from https://www.psychologicalscience.org/observer/the-science-of-swearing 








Comments

  1. In response to the statement: " I argue that throughout history, words become tainted by ideologies and associations with certain people, groups, or organizations. These terms cause societal disruption and stigmatization when used carelessly and especially in disrespectful contexts." Once words are repeated enough they may become 'brands' to be applied liberally and inappropriately, often to manipulative ends. The notion that words alone carry singular associations that can trump things like history lessons is dangerous. Watch how people try to own each other's histories. We see how WORDS are weaponized, used to fuel tribalism and history is eventually changed as living participant die out. Particularly concerning when language around things like war crimes are reduced to hashtags on Facebook and Instagram.

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  2. I think you bring up an interesting point about certain words getting new meaning throughout history, specifically in the context of new negative connotations. I also think it's interesting that the same thing happens in reverse; some offensive words hundreds of years ago are now just common ones. I explored this concept in a course I took in my undergrad, and learned how the language of society is always evolving. In connection to Pontypool, if we see words affected by change as a virus, I wonder if all changed language then constitutes some sort of virus. Some being more harmful than others depending on the new connotation derived, but inflicting change nonetheless; language almost becomes "infected" with these new meanings.

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