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The selfie is the political message
The point of the social-media age, marketers told the world at its inception two decades ago, was to give voice to the voiceless, a platform to those who couldn’t get past the traditional gatekeepers of TV, radio and the humble newspaper. The smartphone, its camera and the internet were going to usher in a new wave of creative endeavours. As it turns out, the smartphone mostly takes selfies. Take the newly minted Chief Minister of Tamil Nadu, C Joseph Vijay. The matinée idol-turned-politician’s spectacular victory ensured that every media outlet in the country was broadcasting his oath-taking ceremony. Yet, in the sea of cameras, Vijay brought his own, taking a series of selfies with party leaders, allies like Rahul Gandhi, and the massive crowd.
Long before Marshall McLuhan became the most-quoted by too-clever-by-half MBAs and PR types in PowerPoint presentations, politicians have been made and unmade by the fact that, all too often, the “medium is the message”. In a democracy, a politician must be of the people, as well as rule over them, both everyman and larger-than-life. Hence the curated candid photos of world leaders at official events, the guffaws at each other’s jokes for a tweet or a reel. And the public often consumes an image of a politician capturing an image.
The selfie, in this context, becomes not just an image but also a way to control the message. After all, the frame leaves out as much as it admits in. The one who wields the camera determines what the public can see. And then there is the simpler explanation: Perhaps politicians just want a photo where they can tag their friends on an Instagram story.
Overall Analysis
The editorial examines how modern politics is increasingly shaped by imagery, social media, and self-presentation rather than only speeches or traditional media coverage. Using the example of C. Joseph Vijay taking selfies during his oath-taking ceremony, the article argues that in the digital era, politicians are not merely participating in media narratives — they are actively creating and controlling them.
The opening paragraph begins with a reflective and slightly ironic tone. It recalls the early promise of social media as a democratic platform that would empower ordinary voices beyond traditional media gatekeepers. However, the author humorously points out that instead of ushering in deep creative transformation, smartphones are now largely used for selfies. This contrast between idealistic expectations and current reality creates a subtle satire on digital culture. Vijay’s selfies are presented not as casual acts, but as carefully symbolic political gestures designed for instant public connection.
The editorial then broadens the discussion by referencing media theorist Marshall McLuhan and his famous idea that “the medium is the message.” The writer explains that political communication today depends as much on visuals and presentation as on policy or ideology. Leaders are expected to appear relatable and accessible while still maintaining authority and charisma. The language highlights how politicians consciously perform for cameras, social media reels, and online audiences. The phrase “the public often consumes an image of a politician capturing an image” cleverly captures this layered reality of modern media culture.
The final paragraph becomes more analytical, focusing on the selfie as a tool of narrative control. By taking the picture themselves, politicians decide what enters the frame and what remains hidden. The selfie therefore becomes a symbol of power over public perception. At the same time, the editorial ends on a lighter and humorous note, suggesting that perhaps politicians simply enjoy social media culture like everyone else. This ending softens the critique while reinforcing the article’s central idea that politics today is deeply intertwined with digital image-making.
Overall, the editorial uses wit, cultural commentary, and media theory to explain how political communication has evolved in the age of smartphones and social media.
Important Vocabulary (5)
- Gatekeepers – people or institutions that control access to information or opportunities.
- Matinée idol – a highly admired film star, especially popular among audiences.
- Curated – carefully selected or arranged to create a particular impression.
- Wields – holds and uses power or influence.
- Guffaws – loud and exaggerated laughter.
Conclusion & Tone
The editorial argues that in the social-media era, political messaging is increasingly shaped through visuals, selfies, and personal branding. The selfie is no longer just a photograph — it is a deliberate political tool used to project relatability, influence perception, and control narratives.
Tone: Witty, reflective, analytical, and mildly satirical.
