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Kent Academic Repository Full text document (pdf) Citation for published version Horner, Thomas (2021) National Identity in the National Interest: The Branding of Britishness by the BBC in the 1960s. Master of Arts by Research (MARes) thesis, University of Kent,. DOI Link to record in KAR https://kar.kent.ac.uk/89909/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html National Identity in the National Interest: The Branding of Britishness by the BBC in the 1960s Thomas Horner University of Kent Student ID: 17903492 HI987 September 2020 Contents Enter Through the Gift Shop: A Guided Tour of Inside Britain 2 Part One: Nation Branding from Stephen Tallents to Simon Anholt 5 ‘National Interest’ in 1960s Britain 20 ‘National Identity’ in 1960s Britain 34 Part Two: London Calling and Britishness by Radio 43 ‘Great’ Britain in a Bipolar World 47 Modern Britain and the ‘New Men’ 54 Commonwealth and race, internationalism and insularity 68 Common Market and continentalism, war and exceptionalism 80 Conclusion 87 Bibliography 90 1 Enter Through the Gift Shop: A Guided Tour of Inside Britain What is – to borrow a phrase from the advertiser’s jargon – the brand image of Britain in the world today? John Bull, in his mid-Victorian splendour, does not quite represent us on the threshold of Europe’s Common Market. And, in a nuclear age, what does it matter now who rules the waves? Napoleon, perhaps, with an outsider’s perspective, was nearer to the mark with his “nation of shopkeepers,” for buying and selling remain principal British occupations. Behind her counters, beyond her shop windows, stand her industries, probably the most persistent formative influence on her national character… Britain has moved deliberately into the era of the Welfare State, and is becoming – this proves to be no contradiction in terms – an “affluent society.”1 The above listing for a programme broadcast by the British Broadcasting Corporation’s English-language General Overseas Service in 1962, includes within it all of the key elements, and a central concept, through which this dissertation seeks to explore the representation of national identity in the 1960s by the national broadcaster of Great Britain. As one episode in a series that promised global listeners a guided tour of Inside Britain, a brief glimpse is afforded us in the pages of London Calling – an ‘Overseas Journal’ or magazine guide akin to the domestic Radio Times – of what this story of ‘A Nation on the Move’ projected of the British to the world. Britain is defined by its trade and industry, the title suggesting energy and progression; the British are conscientious socialists without missing out on prosperity. Britishness is no longer synonymous with its colonial past, standing as it does on the cusp – the writer believed, at least – of accession to the European Economic Community. Crucially, there is an awareness of the British brand, no longer embodied in the brash and jingoistic John Bull. Through analysis of the representations made of Britain in BBC external broadcasting, the following study examines the process by which the broadcaster constructed a new brand for the British that, ‘in a nuclear age’ where these ‘shopkeepers’ were adjusting to a life after imperial ‘splendour’, employed national identity in the service of national interests. Moving beyond a long debate over propagandism, typically with the Cold War as context and the focus on scrutinising the BBC for complicity, a review of the programming broadcast by the BBC in the sixties shows a more insightful model for interpreting its activities. This can be found in the practice of modern ‘nation branding’, parsing the components of a country’s identity into its ‘unique selling points’ and then packaging these into a pitch for the 1 British Broadcasting Corporation, London Calling, Vol.2, No.245 (8 February 1962) p.1. 2 global marketplace – the core concept explored in chapter one. It is a speculative exercise designed to accumulate esteem, appreciation and awareness of the brand supporting national performance in all exchanges. Thus, this study builds on newer investigations into ‘the cultural dimension of international relations’, most prominently that of Marie Gillespie, considering the role of the media in ‘soft power’.2 It is an assessment of the end product and its influence on how identity was understood by an audience, the creation of cultural capital, rather than simply the process behind production from a ‘top-down’ perspective, occupied as that has been with individuals and institutional relations with political and diplomatic powers.3 How the BBC answered in programming the pressing questions asked of Britain in this era – as a great power; as head of the Commonwealth; as part and partner of Europe – is illustrative of the role it played – of its own accord or in accordance with directive – in presenting a brand that supported national need. Rather than simply ‘public diplomacy’ – to ‘speak peace unto nation’ and forge direct conversation with foreign publics – ideas about Britain were seeded to cultivate a ‘competitive identity’. Nation branding has been criticised for ‘turning bases of national recognition into essentialized and homogenized commodity goods’, diversity a ‘fantasy’ in depictions that are only interested in it as a ‘currency’, ultimately concerned with making identity fit ‘patterns of consumption’.4 But all identity is ‘montage’, to paraphrase Peter Leese.5 How the BBC compiled those images, what was cut out and to what benefit, is our question. The source for this analysis is London Calling, a magazine dispatched to subscribers wherever in the world they listened to the BBC’s General Overseas Service, or World Service as of May 1965. This listings guide came in three volumes during the period 1960-1970, changing from a weekly to a more pictorial monthly edition in April 1963; and a fresh volume came into being in May 1969, when the formerly separate English-language African Service and BBC Europe were consumed within ‘an integrated network of programmes … planned and presented as the BBC World Service.’6 As for what the reader or researcher finds within these volumes, the content and its constraints are explained in the 200th edition of the second volume; that due to the guide being prepared ‘not seven days but several weeks ahead of the programmes it covers’, attention is on ‘trends’ rather than ‘week-by-week developments’ and 2 Marie Gillespie , Alban Webb & Gerd Baumann, ‘Broadcasting, strategic challenges and the ecology of overseas broadcasting by the BBC’ in Historical Journal of Film, Radio and Television, Vol. 28, No. 4 (2008) pp.453-458. 3 Thomas Hajkowski, The BBC and National Identity in Britain, 1922-53 (Manchester University Press, 2017) p.9. 4 Melissa Aronczyk, Branding the Nation: The Global Business of National Identity (Oxford University Press, 2011) pp.8-9, 31. 5 Peter Leese, Britain Since 1945: Aspects of Identity (Basingstoke: Palgrave Macmillan, 2006) pp.1- 2. 6 British Broadcasting Corporation, London Calling, Vol.3, No.73 (April 1963) p.2. 3 ‘neither news nor topical commentary can ever be previewed.’7 Such a limitation is to be expected of any journal sent in advance of the affairs that will be current in the period it covers. But this study is concerned with scrutinising those ‘trends’, seeing how patterns in programming established aspects of identity that correlated with interests, informing a brand. It is a vast resource, touched upon by Emma Robertson in her study of Britishness as espoused by the BBC vis-à-vis its Empire, which this dissertation shall survey in its ‘bewildering array’ in order to gain more detailed insight into the projection of Britain.8 Before this analysis, part two of our study, we will examine the necessary concepts and relevant literature in the first three chapters: how and why the BBC broadcasted and the model provided us by nation branding; national interest in its historical context; national identity and the BBC’s role in Britishness. 7 London Calling, Vol.2, No.200 (30 March 1961) p.1. 8 Emma Robertson, “I get a real kick out of Big Ben’: BBC Versions of Britishness on the Empire and General Overseas Service, 1932–1948’ in Historical Journal of Film, Radio and Television, Vol. 28, No. 4 (2008) p.464. 4 Part One: Nation Branding from Stephen Tallents to Simon Anholt Nation branding, the application of corporate marketing concepts to countries in order to manage their reputation and build recognition of a desired image, offers an understanding as to how the BBC, especially in foreign broadcasting, fulfilled its public service in the national interest. This first chapter will set out the concept of ‘nation branding’,