AMANDA KNOX AND HOW THE MEDIA BUILT A FICTIONAL VILLAIN
An opinion piece on Amanda Knox and the role of a biased press
STILLWATER: THE TRUTH THAT SINKS
It was announced some time back that Hollywood actor Matt Damon was to star in Stillwater — a film reputed to be loosely based on the events surrounding Meredith Kercher’s utterly tragic murder in Italy, 2007. Many at the time of the announcement wondered what angle the movie was going to take (especially in light of the fact that the account of Kercher’s death had been so deftly hijacked by the mainstream media and basement-dwelling internet sleuths).
The truth had so keenly been re-moulded by layer after layer of misguided allegations and half-truths that it felt almost impossible to predict what theory the film might lend itself to. Yet one thing was clear, Amanda Knox was going to be yet again under the spotlight against her will — scrutinized, villainised and disarmed of her own voice. When, it would be fair to ask, will enough be enough?
Amanda Knox herself took to Twitter in July, stating that, “Stillwater is by no means the first thing to rip off my story without my consent at the expense of my reputation.” It’s impossible to deny that Knox has, since the awful events of 2007, been caricatured beyond her own recognition: stripped of her humanity and allowed only the headlines and articles of the deepest criticism, Knox was clearly never granted a fair chance when it came to the court of public opinion.
MEDIA BIAS
It was evident from the very start that Knox was going be drawn as the fictionalised pantomime villain that the media wanted her to be, because that was the way in which she was repeatedly portrayed. The reporting of the highly charged criminal trial was not treated with any sensitivity to those involved; instead, a drama was scripted by the mainstream press in which Knox was criticised for merely kissing her then-boyfriend, named an ‘ice maiden’ and labelled as ‘shameless.’ Pictures were slapped across the front covers of tabloids if she so much as smiled, as if this somehow were against a law too. Knox’s name was unjustly glued next to the words ‘murder’ and ‘guilt’ time and time again.
Through it all, Knox’s own voice was (and often still is) marginalised and swept aside, as if second-hand opinions on her are somehow of more value than the truth behind the headlines. During the trials, it seemed that a seductive, overtly sexual, femme fatale plot far outweighed the truth in the eyes of many journalists reporting on events.
CONSEQUENCE VS JOURNALISTIC FREEDOM
Many have questioned if something should be done to tackle and prevent the heavy bias allowed in reporting — especially concerning serious legal matters, criminal trials and sensitive issues which could potentially wreak havoc on a person’s life, reputation and mental health.
As many who followed the case saw, (in the way the media handled Knox) it is far too easy for publications (whether it be magazines, newspapers in-print or websites) to take control of the narrative and shape public opinion, even when the basis for doing so ranges from unreasonable and weak to outright fabrication. There seems little consequence for presses when it comes to any questionable reporting, therefore it seems more pertinent than ever that this issue is addressed.
Should there be a more diligent code of ethics in journalism? Should laws around reports associated with criminal allegations be more stringent? When we see the power the media has to destroy lives and derail the reputations of their subjects, the answer should surely be a resounding yes.
Amanda Knox was acquitted in March of 2015, with the court ruling that she and Sollecito were innocent of any involvement in the murder of Kercher. Reports of significant and glaring errors during the previous trials and investigations were uncovered, and Knox was fully exonerated. Yet one does not need to look far or hard to still see her name mentioned in regards to the initial ‘guilty’ verdict, which at times is raised in favour or, or instead of, her subsequent acquittal. The narrative peddled by much of the press over the years has clearly cemented in the eyes of some, with heavy repercussions to Knox - and yet with little comeback to those who choose to keep casting her under the same dark suspicions time and time again.
Within the apparent ethics code of journalism lies the intrinsic value of unbiased reporting, with the understanding that the reporter must convey facts and not the personal attitude or beliefs towards the story he or she is writing about. It seems this important aspect has become lost along the way. The Knox “inspired” character in Stillwater is known as Allison and is a student responsible for the death of her roommate, who also happens to be her lover. Allison’s character is clearly an echo of how Italian prosecutors and the media portrayed Knox. Yet again, a version of Knox is presented to the viewing public and the voice of the human behind the story is hidden behind someone else’s ideas of them.
Amanda Knox herself said, “Does my name belong to me? My face? What about my life?” It is time these things were handed back to her — for good. They’ve been hijacked for far too long.
