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BBC TV\S Panorama, Conflict Coverage and the Μwestminster %%&79¶VPanorama, conflict coverage and WKHµ:HVWPLQVWHU FRQVHQVXV¶ David McQueen This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. %%&79¶VPanorama, conflict coverage and the µ:HVWPLQVWHUFRQVHQVXV¶ David Adrian McQueen A thesis in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy August 2010 µLet nation speak peace unto nation¶ RIILFLDO%%&PRWWRXQWLO) µQuaecunque¶>:KDWVRHYHU@(official BBC motto from 1934) 2 Abstract %%&79¶VPanoramaFRQIOLFWFRYHUDJHDQGWKHµ:HVWPLQVWHUFRQVHQVXV¶ David Adrian McQueen 7KH%%&¶VµIODJVKLS¶FXUUHQWDIIDLUVVHULHVPanorama, occupies a central place in %ULWDLQ¶VWHOHYLVLRQKLVWRU\DQG\HWVXUSULVLQJO\LWLVUHODWLYHO\QHJOHFWHGLQDFDGHPLF studies of the medium. Much that has been written focuses on Panorama¶VFRYHUDJHRI armed conflicts (notably Suez, Northern Ireland and the Falklands) and deals, primarily, with programmes which met with Government disapproval and censure. However, little has been written on Panorama¶VOHVVFRQWURYHUVLDOPRUHURXWLQHZDUUeporting, or on WKHSURJUDPPH¶VPRUHUHFHQWKLVWRU\LWVHYROYLQJMRXUQDOLVWLFSUDFWLFHVDQGSODFHZLWKLQ the current affairs form. This thesis explores these areas and examines the framing of war narratives within Panorama¶VFRYHUDJHRIWKH*XOIFRQIOLFWV of 1991 and 2003. One accusation in studies looking beyond Panorama¶VPRUHFRQWHQWLRXVHSLVRGHVLVWKDW WKHVHULHVKDVWUDGLWLRQDOO\ RYHU UHSUHVHQWHGµHVWDEOLVKPHQW¶RUHOLWHSHUVSHFWLYHVLQLWV reporting. This charge has been made by media scholars (Williams 1968; Hall et al. 1981; Born, 2004), champions of rival current affairs programmes (see Goddard et al. 2007) and even by a number of senior figures within the BBC and Panorama itself (Day 1990; Dyke 2004a). This thesis tests that view in relation to an archive of Panorama programmes made between 1987 and 2004, with particular reference to its coverage of the First and Second Gulf Wars. The study aims to establish if Panorama has, in fact, SDWUROOHGWKHµOLPLWVRIGHEDWH¶ODUJHO\FRQILQHGLWVHOIWRµHOLWHYLHZV¶DQG SUHGRPLQDQWO\UHIOHFWHGWKHµ:HVWPLQVWHUFRQVHQVXV¶LQLWVFRYHUDJHRIFRQIOLFW. The thesis is supported by interviews with current and former Panorama staff and contains discussion of working practices at Panorama, particularly as they relate to UHSRUWLQJFRQIOLFWVLQYROYLQJ%ULWLVKDUPHGIRUFHV7KHUHLVDQDVVHVVPHQWRIWKH%%&¶V journalistic culture and developments within the News and Current Affairs directorate in the period under discussion; the legal and institutional constraints under which the series operated; challenges and threats to the current affairs tradition; wider concerns UHODWLQJWRWHOHYLVLRQ¶VFRYHUDJHRIZDULQJHQHUDODQGWKHWZRZDUVDJDLQVW,UDT specifically. Questions of indexing and framing are foregrounded in textual and content analysis of forty-two episodes dealing with the Gulf Wars to assess whether Panorama¶VFRYHUDJHZDVRYHUGHWHUPLQHGE\RIILFLDOVRXUFHVDQGHOLWHSHUVSHFWLYHVRU if it gave adequate space to a diversity of opinions and explanations for the conflicts and thereby fulfilled its legal obligations and Public Service role. 3 List of Contents Title Pages Title and Abstract 3 Contents 4-6 List of tables 7 Acknowledgements 8 $XWKRU¶VGHFODUDWLRQ 9 1 Introduction 11 1.1 Research Project Overview 11-15 1.2 Rationale for the Study 16-17 1.3 Key Literature Review: Previous Studies of Panorama 17-20 1.4 Main Research Focus 20-24 2. Theoretical approach to study 25 2.1 Critical paradigm 25-26 3. Methodology 27 3.1 Content and Textual Analysis 27-33 4. Contextual Research and Critical historiography 35 4.1 Broadcasting 35-38 4.2 The BBC 39-44 4.2.1 Management control 44-50 4.2.2 Selection of journalists, background and class composition 51-54 4.2.3 Journalistic culture 55-57 4.3 Current Affairs 59 4.3.1 Definitions and origins 59-65 4.3.2 Genre boundaries, objectivity and impartiality 65-79 4.3.3 The Public Service Broadcasting role of current affairs 79-83 4.3.4 Ratings ± declining or increasing? 83-85 4.3.5 Personalities 85-92 4.4 Panorama: a brief critical history 93 4.4.1 Panorama in the 1950s 93-97 4.4.2 Panorama in the 1960s 98-104 4.4.3 Panorama in the 1970s 104-107 4.4.4 Panorama in the 1980s 108-111 4.4.5 Panorama in the 1990s 111-114 4.4.6 Panorama post 2000 114-116 4 5.1 Coverage of Conflict 117 5.1.1 Introduction 117-118 5.1.2 State-media-military relations: a brief history of media management 119-136 5.2 The Gulf Wars 137 5.2.1 Media-military relations and media management 137-139 5.3 Literature review: µGulf 1¶ 141 5.3.1 Introduction 141-142 5.3.2 Framing 142-145 5.3.3 PROLWLFDOFRQWH[W-RKQ0DMRU¶V3UHPLHUVKLS 145 5.3.4 µ0HGLD0DQDJHPHQW¶ 146-148 5.3.5 Conclusion 148-150 5.4 Panorama¶VFRYHUDJHRIµ*XOI:DU,¶ 151 5.4.1 Introduction 151-152 5.4.2 Hypotheses 152-153 5.4.3 Method 153-155 5.4.4 Findings: Pre-War Phase 156-173 5.4.5 Findings: Invasion Phase 174-180 5.4.6 Findings: Post-War Phase 180-190 6.1 Literature review: µGulf II¶ 191 6.1.1 Introduction 191-199 6.1.2 Framing 199-206 6.1.3 CHQVRUVKLSDQGµ)ODN¶ 206-210 6.1.4 Conclusion 210-212 6.2. Panorama¶VFRYHUDJHRIµ*XOI:DU,,¶ 213-264 6.2.1 Introduction 213 6.2.2 Hypotheses for all phases of conflict 213-214 6.2.3 Panorama and Iraq 215-216 6.2.4 Findings: Pre-War Phase 217-247 6.2.5 Findings: Invasion Phase 247-250 6.2.6 Findings: Post-War Phase 250-257 6.2.7 Conclusion 258-264 7.1. Conclusion 265-274 5 Appendices Pages Appendix 1 275 1.1 List of Panorama programmes for Gulf 1 and 2 277 Appendix 2 279 2.1 Breakdown of all interviewees for Gulf 1 281-284 2.2 Coding key for Panorama transcripts for Gulf 1 285-288 2.3 Coding results for Gulf 1 289-296 2.3.1 Coding results for Gulf 1 - Pre-War Phase 289-290 2.3.2 Coding results for Gulf 1 - Desert Storm Phase 291-293 2.3.3 Coding results for Gulf 1 ± Post-War Phase 294-296 2.4 Results for all periods Gulf 1 297 2.5 Breakdown of all interviewees for Gulf 2 301-305 2.6 Coding key for Gulf 2 interviewees and coding notes 306-311 2.7 Coding key for Gulf 2 (pre-war) reporter contribution 312-313 2.8 Coding results and Graphs for Gulf 2 314-333 2.8.1 Coding results and Graphs for Pre-War Gulf 2 ± Reporters 314-318 2.8.2 Coding results and Graphs for Pre-War Gulf 2 - Interviewees 319-323 2.8.3 Coding results and Graphs for Gulf 2 ± Invasion Phase 324-326 2.8.4 Coding results and Graphs for Gulf 2 ± Post Invasion Phase 327-331 2.8.5 Coding results and Graph for all Periods Gulf 2 332-333 2.9 Comparison Graphs Gulf 1 and 2 334-335 Appendix 3 337 3.1 List of Panorama Editors and key developments 338-340 10.0 Bibliography 341-374 6 List of Tables and Graphs Pages 1.1 List of Panorama programmes for Gulf 1 and 2. 277 2.1 Breakdown of all interviewees for Gulf 1 281-284 2.2 Coding key for Gulf 1 285-288 2.3.1 Coding results for Gulf 1 - Pre-War Phase 289-290 2.3.2 Coding results for Gulf 1 - Desert Storm Phase 291-293 2.3.3 Coding results for Gulf 1 ± Post-War Phase 294-296 2.4 Results for all periods Gulf 1 297 2.5 Breakdown of all interviewees for Gulf 2 301-305 2.6 Coding key for Gulf 2 and coding notes 306-311 2.7 Coding key for Gulf 2 (pre-war) reporter contribution 312-313 2.8.1 Coding results and Graphs for Pre-War Gulf 2 ± Reporters 314-318 2.8.2 Coding results and Graphs for Pre-War Gulf 2 - Interviewees 319-323 2.8.3 Coding results and Graphs for Gulf 2 ± Invasion Phase 324-326 2.8.4 Coding results and Graphs for Gulf 2 ± Post Invasion Phase 327-331 2.8.5 Coding results and Graph for all Periods Gulf 2 332-333 2.9 Comparison Graphs Gulf 1 and 2 334-335 3.1 List of Panorama Editors and key developments 338-340 7 Acknowledgements I would like to thank my tutors Pat Holland and Hugh Chignell for their attentive, expert and patient guidance since commencing this study in 2006 and all those at Bournemouth University and the BBC who have helped set up the Panorama Project and enabled a bursary to be provided for this study. Access to the archive and BUFVC database has been an invaluable help in researching a huge quantity of material. This thesis has also been made possible by the kind cooperation and insight of former and present Panorama staff, including Sandy Smith, Paul Kenyon, John Ware, Mike Rubin, Tom Giles, Michael Crick (who took pity on my notice in Ariel staff newspaper DQGµJRWWKHEDOOUROOLQJ¶ Eamonn Matthews, David Lomax and Tom Mangold, as well as those who prefer to remain anonymous. Thanks to Marcus Ryder I was able to clear up a strange mystery in the archive and understand more about the distinction between current affairs and documentaries. Andrew Murray and Lindsey German of the Stop the War Coalition deserve thanks for giving some sense of what it was like to be on the other side of the camera. Special mention must go to Gary Horne who was so generous with his time, support and encouragement; to Roger Bolton for his thoughtfulness and honesty; and to Greg Dyke for making time to speak to me at short notice and for his JRRGKXPRXUDQGFDQGRXU,WVHHPVDSLW\WKDWWKHUHZDVQ¶WQHDUO\HQRXJKVSDFHIRU more discussion of the interesting observations of the various interviewees and I hope to be able to make more use of them, at some stage, in further work.
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