How one woman captured 30 years’ worth of… | Little White Lies

How one woman cap­tured 30 years’ worth of broad­cast news

20 Nov 2019

Words by Madeleine Seidel

Portrait of a smiling person on a CRT television screen, with a colourful background.
Portrait of a smiling person on a CRT television screen, with a colourful background.
A new doc­u­men­tary chron­i­cles the life’s work of an unlike­ly mod­ern Amer­i­can folk hero, Mar­i­on Stokes.

Thir­ty years’ worth of broad­cast news is near­ly impos­si­ble to imag­ine in phys­i­cal form. It would amount to rough­ly 70,000 VHS and Beta­max tapes filled with round-the-clock footage from local sta­tions and cable pro­grammes. The com­press­ing of America’s cov­er­age of war, pol­i­tics and every­day strife into video tape sounds like a friv­o­lous thought exer­cise on stretch­ing the lim­its of doc­u­men­ta­tion, but in a house in Penn­syl­va­nia one woman qui­et­ly set about pre­serv­ing America’s broad­cast his­to­ry, one video­tape at a time.

Mar­i­on Stokes, a librar­i­an and access tele­vi­sion pro­duc­er from Philadel­phia, became engaged in social­ist activism in the late 1950s. In these meet­ings, she met her first hus­band and father to her son, Michael. As Stokes grew to be a promi­nent fig­ure in local pro­gres­sive activism, she became increas­ing­ly para­noid and antag­o­nis­tic, plac­ing a heavy bur­den on her son and hus­band that ulti­mate­ly led to the col­lapse of her marriage.

In 1979, Stokes found her­self both enthralled and hor­ri­fied as the Iran Hostage Cri­sis unfold­ed in Tehran. News net­works scram­bled to cov­er the events, and Stokes quick­ly began to see the incon­sis­ten­cies and bias in the cov­er­age as the sit­u­a­tion unfold­ed. In a pre­scient recog­ni­tion of media’s mal­leable pow­er, she record­ed these news broad­casts on VHS in order to doc­u­ment the cur­rent moment as pro­tec­tion against changes in narrative.

Stokes record­ed the near­ly year-long news cov­er­age of the Iran Hostage Cri­sis, and after the end of the inci­dent, she con­tin­ued to record the news with the advent of CNN in 1980 and oth­er cable net­works soon to fol­low. What began as a VHS record­ing of a sin­gle event grew into con­stant, simul­ta­ne­ous record­ings of the news on mul­ti­ple tele­vi­sions, cap­tur­ing cov­er­age of the Rod­ney King tri­als and sub­se­quent upris­ings, the Iran-Con­tra Affair in the 1980s, the impeach­ment tri­al of Bill Clin­ton, 911, and the racial­ly-moti­vat­ed mur­der of Trayvon Martin.

Stokes died in Decem­ber 2012 while record­ing incom­ing reports of one of America’s most hor­rif­ic recent tragedies: the Sandy Hook school shoot­ing in New­town, Con­necti­cut, which left 20 ele­men­tary school chil­dren and six adults dead. Fol­low­ing her pass­ing, her son Michael donat­ed her entire archive to the Inter­net Archive in Rich­mond, Cal­i­for­nia, in hon­our of his mother’s life’s work.

The record­ings came at a steep per­son­al cost. Stokes’ (entire­ly jus­ti­fied) para­noia over her polit­i­cal work warped her per­son­al rela­tion­ships and, lat­er on, iso­lat­ed her and her sec­ond hus­band John (also a fig­ure in pub­lic access tele­vi­sion) from their chil­dren as she became increas­ing­ly detached from the every­day. And yet, the vast archive of broad­cast news that result­ed from Stokes’ reclu­sive behav­iour is now an invalu­able doc­u­ment of the omnipres­ence of media and its influ­ence on dai­ly Amer­i­can life, con­tain­ing insight and infor­ma­tion that may oth­er­wise have been lost.

The life of Mar­i­on Stokes and her sur­viv­ing family’s efforts to pre­serve her work are show­cased in the doc­u­men­tary Recorder: The Mar­i­on Stokes Project. Direct­ed by Matt Wolf, the film frames Stokes as a dili­gent polit­i­cal archivist, using her tapes as a means of seek­ing truth in news broad­cast­ing and cap­tur­ing in real-time some of the most impor­tant events in recent Amer­i­can his­to­ry. Wolf says that he sees Stokes as a vision­ary activist,” who, saw val­ue in a body of mate­r­i­al that oth­ers were discarding.”

In order to make the film, Wolf and his crew sat down and watched a vast amount of Stokes’ archive. This ardu­ous process, aid­ed by the help of the Inter­net Archive’s staff and archivist Kat­ri­na Dixon, meant sift­ing through the tapes often at 10x speed” and look­ing at footage from spe­cif­ic dates. Wolf found Stokes’ 247 tap­ing to be reflec­tive of the ini­tial aims of the project to pre­serve fact for pub­lic con­sump­tion: Mar­i­on didn’t edi­to­ri­alise the col­lec­tion based on her spe­cif­ic pol­i­tics or inter­ests. I think the whole premise was polit­i­cal in nature – she was doing this to pro­tect the truth, but she want­ed peo­ple to come to their own his­tor­i­cal conclusions.”

The result is an urgent, inti­mate trib­ute to an unsung mod­ern folk hero with a prophet­ic under­stand­ing of the way that news media can be both a tool for rev­o­lu­tion and a weapon of igno­rance. Recorder illus­trates this through CSPAN footage of the House of Rep­re­sen­ta­tives’ dur­ing the Clin­ton impeach­ment. Just when the House is tak­ing the offi­cial impeach­ment vote, the sta­tion cuts to a spe­cial report” of the then-pres­i­dent announc­ing a mil­i­tary strike on Iraq as part of Oper­a­tion Infi­nite Reach. Wolf describes the footage as jar­ring and an explic­it dis­trac­tion – akin to Trump’s tac­tics – that lit­er­al­ly inter­rupt­ed the tele­vised spec­ta­cle of his polit­i­cal unravelling.”

Amer­i­can view­ers will have moments of déjà vu watch­ing Recorder, revis­it­ing reports of crit­i­cal events in their lives. For many, this will be the footage of the ear­li­est moments of 911 and reporters react­ing to the sec­ond plane crash­ing into the World Trade Cen­ter, a sober­ing of-the-moment real­i­sa­tion of the impend­ing doom of tragedy. For me this moment of remem­brance arrived lat­er in the film, dur­ing the more opti­mistic scenes of Barack Obama’s elec­tion in 2008. Rewatch­ing that footage today rekin­dles the unbri­dled joy of the occa­sion while simul­ta­ne­ous­ly allow­ing for a clear-head­ed re-eval­u­a­tion of an admin­is­tra­tion that nev­er quite lived up to its pro­gres­sive promises.

With the ben­e­fit of hind­sight, Recorder shows how the news media is in many ways sim­i­lar to the TV dra­mas we watch: it relies on human emo­tion to con­vey some form of truth. Media shapes lived expe­ri­ence, and vice ver­sa. Through Stokes’ archive we can under­stand the bias but also the oppor­tu­ni­ty for mean­ing in these flawed inter­pre­ta­tions: how fact is spread, how his­tor­i­cal moments are shape and, per­haps most cru­cial­ly, the per­son­al reac­tion of the view­er. More than ever, it’s impor­tant that we learn from and take time to reflect upon a media-sat­u­rat­ed ecosys­tem in which the truth is rarely televised.

For more info vis­it recorder​film​.com

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