Page 204 - Cultural Theory and Popular Culture an Introduction

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188 Chapter 9 Postmodernism

Rodney King, were headlined in two British newspapers as ‘LA Lawless’, and in another
as ‘LA War’ – the story anchored not by a historical reference to similar disturbances in
Watts, Los Angeles in 1965, or to the implications of the words – ‘No justice no peace’
– chanted by demonstrators during the riots; the editors chose instead to locate the
story within the fictional world of the American television series LA Law. Baudrillard
calls this ‘the dissolution of TV into life, the dissolution of life into TV’ (55). Politicians
increasingly play on this, relying on the conviction politics of the ‘photo-opportunity’
and the ‘sound-byte’ in an attempt to win the hearts and minds of voters.
In New York in the mid-1980s the City Arts Workshop and Adopt a Building com-
missioned artists to paint murals on a block of abandoned buildings. After consulta-
tions with local residents it was agreed to depict images of what the community lacked:
grocery store, newsstand, laundromat and record shop (Frith and Horne, 1987: 7).
What the story demonstrates is something similar to the Northumbria police story –
the substitution of an image for the real thing: instead of police cars, the illusion of
police cars; instead of enterprise, the illusion of enterprise. Simon Frith and Howard
Horne’s (1987) rather patronizing account of working-class youth out on the weekend
illustrates much the same point:

What made it all real for them: the TAN. The tan courtesy of the sun bed. No one
here had been on a winter break (this is the Tebbit generation); they’d bought their
look across the counter of the hairdresser, the beauty parlour and the keep fit
centre. And so every weekend they gather in dreary, drizzly York and Birmingham
and Crewe and act not as if they were on holiday but as if they were in an advert-
isement for holidays. Shivering. A simulation, but for real (182).

The 1998 case of the imprisonment of Coronation Street character Deirdre Rachid
is perhaps a classic example of hyperrealism (see Figure 9.1). The tabloid press not
only covered the story, it campaigned for her release, in much the same way as if this
was an incident from ‘real life’. The Daily Star launched a campaign to ‘Free the
Weatherfield One’, and invited readers to phone or fax them to register their protest.
They also produced a free poster for readers to display in car windows. The Sun asked
readers to sign their petition and invited them to buy specially produced campaign T-
shirts. MPs were described as sympathetic to Deirdre’s plight. The Star quoted Labour
MP Fraser Kemp’s intention to speak to Home Secretary Jack Straw: ‘I will tell the Home
Secretary that there has been an appalling miscarriage of justice. The Home Secretary
should intervene to ensure justice is done and Deidre is released.’ Questions were asked
in the Houses of Parliament. The broadsheets joined in (in the way they always do) by
commenting on the tabloid commentary.
In spite of all this, I think we can say with some confidence that the overwhelming
majority of people who demonstrated their outrage at Deirdre Rachid’s imprisonment
and celebrated her release, did so without believing that she was a real person, who had
been unjustly sent to prison. What she is – and what they knew her to be – is a real
character (and has been for over twenty-five years) in a real soap opera, watched three
times a week by millions of real viewers. It is this that makes her a significant cultural