Media and Affective Mythologies

Transcription

1 Media and Affective Mythologies

2 Darren Kelsey Media and Affective Mythologies Discourse, Archetypes and Ideology in Contemporary Politics

3 Darren Kelsey School of Arts and Cultures Newcastle University Newcastle Upon Tyne UK ISBN ISBN (ebook) DOI / Library of Congress Control Number: The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover credit: Ezio Gutzemberg/Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland

4 For Monica and Daisy

5 ACKNOWLEDGEMENTS There are certain people who I have always thanked throughout my career and will continue to do so because I must never forget the support and opportunities they gave me academically. Those people are Rob Stanley from my college days, followed by Paul Mason and Justin Lewis who supported me at Cardiff University throughout my journey from BA to Ph.D. Further thanks to John Jewell, Bob Franklin, and Karin Wahl- Jorgensen for their shared interests and input in my research. I always value the priceless insights and critiques I receive from those former colleagues for whom I have enormous respect. I would also like to thank my current colleagues at Newcastle University, particularly in Media, Culture, Heritage (MCH), who I have the pleasure of leading as Head of Section. It is truly inspiring to work in such a vibrant and positive research and teaching environment with so many world-class scholars. I must specifically thank Katy McDonald, Gareth Longstaff, Rhiannon Mason, and Karen Ross for their recent support, which has given me the research time and space to finish this project. Our students in MCH are fantastic. It is a pleasure to deliver research-led teaching to such talented and enthusiastic minds with great prospects. I must take this opportunity to thank all of my students who have taken my module (MCH2035) on media and mythology. Sharing and developing ideas from this project with students from that module was a wonderful and inspiring teaching experience, and I thoroughly look forward to delivering this module again in future. The input, engagement, and critique I receive from students provides me with enormous hope for the future, with many bright young talents moving into professions, vii

6 viii ACKNOWLEDGEMENTS careers, industries, and positions that will make a significant contribution to society. Academics must never forget what a privilege it is to teach and share our research with students. Within the multiple academic disciplines that my research is connected to, I have been fortunate to work with scholars in the field of critical discourse studies (CDS). I take this opportunity to acknowledge the vibrancy and energy of those who work within the field of CDS. The welcoming and supportive attitude of distinguished scholars in this field has created a research culture of interdisciplinarity that continues to grow and inspire. Particular thanks goes to John Richardson, Christopher Hart, and Majid KhosraviNik for their ongoing support. Thanks to all members of the Critical Discourse Group and the ongoing support it receives from Newcastle University. From other areas of research, I also appreciate the support of colleague James Ash and former colleague Carolyn Pedwell who provided valuable insights to affect theory and perspectives from cultural geography, which I was unfamiliar with prior to this project. Many thanks to Ben Lamb and his research groups at Teesside University, where I have shared case studies from this book and received priceless feedback. May I also thank Tom Hewitt for our endless and extensive political and theoretical conversations, many of which have been valuable for this book. I wish Tom all the best in his Ph.D. studies, which he has pursued after a long and admirable career in the Metropolitan Police. Tom is an excellent researcher with a great mind. I thank all of my family and friends who have supported me throughout this project. I do not see my Guildford, London, or Cardiff friends enough but I know they are always there just one attention seeking click away on Facebook, which I know they appreciate. I would like to thank my friends at the Barley Mow Club. Firstly, I thank them for their kindness when I moved to the North East and didn t know anyone or have anywhere to go for a relaxing pint. Secondly, I would like to thank those who take the time to talk to me about my research and pay a genuine interest through the energetic conversations we often have about politics. My parents and nan deserve a special acknowledgement for their unconditional support. I also thank my brother and his gorgeous family for all their laughs and smiles. I am proud of my brother for his ongoing achievements and continual determination in life. He is a role model as a dad and a brilliant person. Finally, and most importantly, I thank my wife. I will say exactly what I said in my previous book s acknowledgements: Monica s love, kindness,

7 ACKNOWLEDGEMENTS ix empathy, patience, loyalty, and generosity are qualities that I admire. Monica is a fantastic mum and that is why I dedicate this book to her and our beautiful daughter, Daisy. Once Daisy can talk, I will need to ask her why the mythology of Peppa Pig plays such an affective role in her life.

8 CONTENTS 1 Why Study Mythology and How is it Affective? 1 2 Affective Apparatus: Collective Unconscious, Archetypes and the Transpersonal 27 3 Hero s Journey: Nigel Farage, the EU and Brexit 53 4 The City Trickster: Bankers, Moral Tales, and Contemporary Capitalism 81 5 Children, Shadows, and Scapegoats: The Child Abuse Scandals of Rotherham Council and Jimmy Savile Spiritual Revolution: The Affective Mythology of Russell Brand Affective Mythologies: Where Do We Go from Here? 157 Bibliography 175 Index 177 xi

9 LIST OF FIGURES Fig. 1.1 DMA diagram 15 Fig. 2.1 Jung s model of the psyche 31 Fig. 5.1 BNP children placards 110 xiii