Sexual exploitation and human trafficking in cinema: A tool for advocacy or sensationalism

Abstract

Background: Cinema has played a significant role in portraying societal issues, including child trafficking and sexual exploitation. While some films aim to raise awareness and advocate for policy changes, others have been criticized for sensationalizing trauma for commercial gain. This study was conducted to explore the extent to which these portrayals serve as advocacy tools or exploit victims' suffering for entertainment. It aimed to analyze how films depict child trafficking, distinguish between advocacy-driven and sensationalized narratives, and assess their impact on public awareness, policy discussions, and activism. Ultimately, the study seeks to provide recommendations for ethical storytelling in filmmaking on this sensitive issue. Method: A qualitative content analysis was conducted on a selection of films from 2000 to 2024 that focus on child trafficking and sexual exploitation. Purposive sampling was used to select films that gained significant public attention and addressed the subject matter either as advocacy-driven or commercially dramatized portrayals. The study assessed thematic elements, narrative structures, and audience reception, categorizing films into advocacy-driven and sensationalized portrayals. The films analyzed include Taken (2008), Trade (2007), Eden (2012), The Whistleblower (2010), Priceless (2016), and Sound of Freedom (2023). Viewer impact was measured using audience reviews, critical analyses, and available survey data to evaluate the effectiveness of these portrayals in raising awareness versus contributing to sensationalism. Results: Preliminary findings indicate that films with documentary-style storytelling and survivor-centered narratives tend to foster awareness and empathy, leading to increased public engagement and policy discussions. Conversely, films that exaggerate violence, rely on dramatic tropes, or objectify victims often contribute to misinformation and desensitization. Some productions blurred the line between advocacy and entertainment, making it difficult to distinguish intent from impact. Conclusions: While cinema can be a powerful tool for social advocacy, the risk of re-traumatization and commodification of victims' experiences remains high. Filmmakers should adopt ethical storytelling practices that prioritize survivor dignity and factual accuracy. Further research is needed to explore audience perceptions and the long-term impact of cinematic portrayals on policy and activism.