Those who control the spread of information control the truth. Composers have ultimate control over the "truth" in their texts. Composers of texts have the ultimate control over the "truth" in their text - through the use of techniques to shape meaning, they can construct the reader's opinion. Geoffrey Robertson in The Justice Game crafts many textual elements in his book about the legal system, the cases and about himself. Other composers also set their own agenda, and these biases cannot be overlooked.
             For example, in the Trials of Oz Robertson exercises supreme authority to decide who is guilty or innocent. He uses language to describe the defendants as "honest young men" and to characterise Oz as a "harmless coffee-table magazine for the revolution that would never happen". Robertson also uses language to construct the reader's disapproval of Justice Argyle, whom Robertson casts as extremely "conservative" and "out-of-touch". The judge cannot pronounce "cunnilingus", and is unaware of the famous musical "Hair". Robertson uses this as evidence Argyle is an old crone, willing to bend the rules of law to convict the defendants. Robertson crafts language to present him in a most undignified manner - "passing the sentence with the relief of a man making a bowel movement". In this sordid description Robertson exercises his authority over the representation of truth.
             Yet even in a separate text on the same issue written by Robertson, the screenplay of The Trials of Oz, other techniques are used to add meaning to Robertson's "truth". Echoing effects are added to Argyle's voice, giving the charge "corrupt and deprave" a deeply disturbing resonance. The use of music also crafts Robertson's representation: the song "Children of the Revolution" is used to support th
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