Page 98 - An Introduction to Political Communication Second Edition

THE MEDIA AS POLITICAL ACTORS

THE BARDS

Rather different in their function are what Nimmo and Combs call
the ‘bards’ of political journalism (as distinct from the ‘priests’). The
bardic journalist or pundit plays the role of ‘a court jester, that ruling
elites can tolerate’ (1992, p.67). The bard employs humour, satire,
and irony to comment on political affairs, although frequently with
serious intent. Political cartoonists attempt to make their readers
laugh while highlighting important political issues. Andrew Rawnsley,
formerly of the Guardian, made his reputation as a wickedly funny
diarist of the House of Commons’ daily business, giving the routine
grind of debate a gently subversive satirical twist. The magazine
Private Eye may also be regarded as ‘bardic’, in its constant
investigative exposure and parodying of the absurdities and injustices
of British political life.
Magazines such as Private Eye, and the more conventionally
journalistic New Statesman, are examples of a press which exists for
the purpose of reporting and reflecting on politics from what we can
call a ‘dissenting’, anti-establishment perspective. These periodicals
(there are no British newspapers of this type, unless one counts the
Morning Star) are often engaged in extremely tough critiques of
aspects of the system, as witnessed by the number of banning orders
taken out against them over the years. They are, in a very real sense,
‘watchdogs’ over the political establishment.

BROADCASTING

Several of the forms of political journalism deployed by the press
are also used in broadcasting, which has also produced its own
class of pundits. Paralleling the bardic role of Private Eye on
television was the now-defunct Spitting Image, a puppet show which
satirised current political figures in rather unforgiving terms. One
should also include in this category output which, although clearly
not to be confused with journalism, strives to represent the people
against their leaders—impressionists with a strong political content
in their materials, such as Rory Bremner and Chris Barrie, and
comedians like Ben Elton who specialise in heavily politicised stand-
up routines. Moving closer to journalism are those interviewers,
such as Clive Anderson, who employ a chat-show format, but lace
it with an element of satirical mockery of the powerful. Anderson’s
show frequently sends up politicians—notably Jeffrey Archer, who

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