![]() ![]() There are, therefore, many levels and categories of spectacle. Simpson trials, the Clinton sex and impeachment scandals, or the Terror War that is defining the current era. ![]() These range from commodity spectacles such as the McDonald's or Nike spectacle to megaspectacle political extravaganzas that characterize a certain period, involving such things as the O.J. My major interest in Media Spectacle (Kellner 2003), however, is in the ¡E megaspectacle form whereby certain spectacles become defining events of their ™ era. Spectacle forms evolve over time and multiply with new o technological developments. _ Every medium, from music to television, from news to advertising, has its oc multitudinous forms of spectacle, involving such things in the realm of music as j= the classical music spectacle, the opera spectacle, the rock spectacle, and the hip o hop spectacle. Using the term 'media spectacle', I am largely focusing on various forms of technologically constructed media productions that are produced and disseminated through the so-called mass media, ranging from radio and television to the Internet and latest wireless gadgets. It describes a media and consumer society, organized around the production and consumption of images, commodities, and staged events.įor Debord, spectacle constituted the overarching concept to describe the media and consumer society, including the packaging, promotion, and display of commodities and the production and effects of all media. Debord's conception, first developed in the 1960s, continues to circulate through the Internet and other academic and subcultural sites today. The concept of the 'society of the spectacle' developed by French theorist Guy Debord and his comrades in the Situationist International has had major impact on a variety of contemporary theories of society and culture.1 For Debord, spectacle 'unifies and explains a great diversity of apparent phenomena' (Debord 1967: #10). ![]()
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