Page 249 - An Introduction to Political Communication Third Edition
P. 249

NOTES

                  engaged in a conscious manner. Nor is this a flight from politics, but
                  rather the effect of an implacable antagonism between the class which
                  bears the social, the political culture – master of time and history, and the
                  un(in)formed residual, senseless mass’ (1983, p. 38).
                4 For an account of the 1997 general election campaign, by someone who
                  participated in it as a political reporter for the BBC, see Jones, 1997.

                     3 THE EFFECTS OF POLITICAL COMMUNICATION
                1 For an overview of the issues, see McQuail, 1987. For a more readable
                  summary of the problems, and the different approaches which they have
                  generated, see Morley, 1980.
                2 Hall’s three decoding positions, which he argues to have been empirically
                  tested,  are:  (a)  the  dominant–hegemonic position,  when  a  message
                  is  decoded  entirely  within  the  encoder’s  framework  of  reference;
                  (b) the negotiated position, which ‘acknowledges the legitimacy of the
                  hegemonic  definitions  to  make  the  ground  significations,  while,  at  a
                  more  restricted,  situational  level,  it  makes  its  own  ground  rules’  and
                  (c)  the  oppositional decoding,  ‘the  point  when  events  which  are
                  normally signified and decoded in a negotiated way begin to be given an
                  oppositional reading’ (1980, p. 138).
                3 In 1992 the final ‘poll of polls’ indicated a Labour lead of 0.9 per cent.
                  In  fact,  the  Conservatives  won  the  election  by  7.6  per  cent,  giving  a
                  polling error of 8.5 per cent, the largest ever in British polling history.
                  Butler and Kavanagh believe that ‘there is no simple explanation for this
                  massive  failure  in  what  had  become  a  trusted  instrument  in  election
                  analysis’ (1992, p. 148), but propose the following explanations for the
                  size of the error: (a) the sample of those polled was disproportionately
                  working class (thus skewing the outcome in favour of Labour); (b) due
                  to  such  factors  as  poll  tax  evasion,  many  of  those  polled  were  not
                  included on the electoral register; (c) Tory voters were less likely to reveal
                  their voting intentions; (d) fewer Labour than Tory voters actually voted;
                  (e) there was a late swing to the Conservatives in the final few days of the
                  campaign.
                4 Butler  and  Kavanagh  suggest  that  polls  taken  on  1  April  indicating
                  Labour leads of between 4 and 7 per cent were implicated in the party’s
                  electoral  defeat,  because  they  ‘encouraged  the  triumphalism  of  the
                  Sheffield rally and it helped to waken the public to the real possibility of
                  a Labour victory’ (1992, p. 139).
                5 So named because of its high production values, and artistic direction by
                  award-winning feature film-maker Hugh Hudson.
                6 For  a  recent  discussion  of  the  implications  of  these  trends  for  the
                  democratic process see McNair, 1998a.
                7 The  American  political  scientist  Roderick  Hart,  for  example,  in  his
                  discussion of contemporary US presidential speech-making, argues that
                  ‘the mass media have caused presidents to seek security in discourse, not
                  challenge,  and  have  made  the  perception  of  assent,  not  assent  itself,
                  the  valued  commodity.  What  used  to  be  a  broad,  bold  line  between
                  argument and entertainment, between speech-making and theatre, now
                  has no substance at all’ (1987, p. 152).


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