Introduction

Ellis (1999) argues that television promotes this sense of interconnectedness through “explanations and narratives in the talk” (p. 58). According to Ellis (1999), television apparatuses start this narration by broadcasting raw news information but then expand it by creating “chat arenas,” which “[enclose] serious discussions of current affairs.” These stages of “working through [as] an open process” (Ellis, 1999, p. 59) create outlets for salient topics in the news to develop. In addition to soaps, documentaries, sports, and talk shows, these chat forums provide an exclusive experience for viewers. Essentially, these chat forums continue this narrative of discourse about particular political concerns at the time. As mentioned earlier, Ellis (1999) says that once a news item gains salience, it becomes the dominant topic throughout the discussion. An “information-rich environment” (58) requires “non-totalizing speculation” (58). As I mentioned, narrative discourse becomes the primary vehicle that “complicates the emotional perspective” once these realms of narrative discourse are established in the outlets.

The Border

‘The Border’ is a television series examining controversial issues in Canadian security, its functions, and the topics currently making headlines. A key concern in the modern world is terrorism, explored in The Border’s first episode. A man who was innocent of terrorist charges was imprisoned on speculative charges in episode one of The Border. This brought to light most Canadians’ fears. A known and documented terrorist is captured by a federal court and relocated to a Syrian prison. One of the Border characters fights for survival and innocence. Narrativism begins with raw news data and extends through soap operas, dramas, sports, and films, according to Ellis (1999). As a result, a particularly salient news topic becomes saturated in the audience. Ellis (1999) explains that saturation is necessary for civilized life (58).

Once this saturation is achieved, viewers become immersed in chat arenas and participate in spectacular debates. The Border reenacts speculations concerning terrorist behaviour, justice, and protecting civilians from terrorist activity, illustrating this literary process. As a result of this narrativization, The Border developed a narrative form that speculated about salient news issues. Ellis (1999) argues that the relevant sections of The Border are narratives. Ellis (1999) says narrative forms provide sophisticated commentary and media content analysis.

The author also suggests that such matters are extensively elaborated, and this speculation invites the audience to “use [their] psychological understandings” (Ellis, 1999, p. 66). However, this narrative form allows controversial interpretations from chat arenas to be combined to form a single “narrative possibility” rather than multiple variations (Ellis, 1999, p. 66). Furthermore, The Border is considered a “discontinuous soap” since the narrative structure returns to the same characters in different circumstances. Despite the “handy flow of individual incidents” that each character decides for themselves, other narratives continue, even after the serial is completed. The Border functions this way thematically. Despite the episode’s resolution, ambiguous themes like terrorism prevention may never be resolved. Serialization rarely ends with the chat arena closed.

Narrative Strategies

The Border constructed its televisual format to create a chat arena between newcomers, similar to the most popular drama show in the United States. In the chat arena, split-screening and hand-held moving cameras amplify dramatic performances between characters. Chat areas are ambiguous. Ellis (1999) says narrative forms create dilemmas, which are the primary forum for discussing difficulties. Kessler, the department leader and immigration officer at The Border, faces a dilemma. Kessler is puzzled that a Canadian citizen is being held at a base in the United States on speculative terrorist charges. As for the second dilemma, the media portrays Muslims as terrorists. The Border recreates 9/11 within the first four minutes of the program, where narrative difficulties reappear. Nevertheless, the broader story concerned the moral and ethical grounds for targeting an innocent bystander as a terrorist affiliate. The program only resolved the potential hijacking danger.

Excessive information and speculation are not practical methods to resolve tension or uncertainty. Although television repeats population concerns, it does not resolve issues as significant as terrorism. These issues may provide insight into a hypothetical situation but do not explain institutional and federal terrorism policies. Amnesty International (2008) states, “Khalid Sheikh Mohammed, Abu Zubaydah, and Abd al-Rahim al-Nashiri were taken into US custody in 2002 and 2003.” After being held at secret locations for over three years, the three men were transferred to Guantánamo Bay in Cuba in September 2006. The Border carefully avoids inciting public controversy among Canadians by stating that the bystander was innocent of these crimes. The Border conveniently avoids these heart-wrenching details, even though these controversies may provide an explanation and more in-depth speculation. This episode offers Canadians a better understanding of how innocent bystanders are incarcerated and mistreated as “terrorists.”

Near the episode’s end, The Border characters rejoice when a Canadian bystander is finally released from the US detention centre. Even so, the conclusion lacks justification for the release of that bystander because it does not explain, speculate, or justify it. It is pertinent to note that three detainees are still held without charge or trial at Guantanamo Bay, as we said earlier. It was unrealistic and amateurish to conclude The Border. The movie needed closure for a complex argument—terrorism. As a result, television reinforces popular notions of terrorism and concerns about innocent people being held. As a result, it fails to provide a viable solution to releasing innocent individuals. There is no resolution to any uncertainty or sophisticated explanation accompanying the Border.

Conclusion

The Border undertakes a “working through” that reflects Canadian culture, politics, and social values in many ways:

1. There is nationalistic pride in Canadian identity and culture at The Border. Shots of the CN Tower and popular street names like Yonge Street exist. Recurring symbols of Canadian culture, such as the maple leaf, beaver, and flag, are also present.
2. There is significant realistic tension between Canadian immigration Officer Kessler and his American FBI counterpart who took the innocent Canadian bystander on terrorism charges. Despite their purely speculative nature, they reveal the tension between Canadian-US relations, made real by foreign policy differences.
3. The Border reiterates Canadian social values such as peacekeeping and unobtrusive foreign ties.

Based on this analysis, The Border recreates accurate representations of Canadian-US relations, including the tension between terrorism decisions. These interpretations are held internationally and domestically based on how The Border is structured. Canadian identity is constantly contested against American influence. Throughout the show, America is seen as the “other,” a feeling Canadians share. Canadians can easily understand the economic, political, and social struggle to define themselves against the United States.

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Works Cited

Amnesty International. (2008, February 8). USA: Amnesty International calls for criminal investigation following CIA ‘waterboarding’ admission. Retrieved February 8, 2008, from Amnesty International: http://www.amnesty.org/en/for-media/press-releases/usa-amnesty-international-calls-criminal-investigation-following-cia-%E2%80%98wa

Ellis, J. (2008). Television as Working-Through. Readings Package: FILM 3P21 D3 , 55-70

Raymont, P., & Jones, E. (Directors). (2008). The Border, Episode 1 [Television Series].