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Journal articles on the topic 'The society of the spectace'

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Published: 4 June 2021

Last updated: 3 February 2022

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1

Flyverbom, Mikkel, and Juliane Reinecke. "The Spectacle and Organization Studies." Organization Studies 38, no. 11 (January 28, 2017): 1625–43. http://dx.doi.org/10.1177/0170840616685366.

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The aim of this essay is to revisit Guy Debord’s critical theory of the spectacle as formulated 50 years ago in the ‘Society of the Spectacle’ in light of the contemporary production of spectacles. Debord’s arguments about appearance, visibility and celebrity are echoed in the way organizations increasingly focus on their brand, image, impression, and reputation. Yet, the role of spectacles in organizational life has remained under-researched in organization studies. As the boundaries between fact and fiction, reality and representation, substance and appearance become increasingly blurred, questions about the production and effects of spectacles seem more pertinent than ever. Are representations faithful mirrors of reality, or attempts to conceal reality? Do they replace reality, or bring new realities into being? By articulating three possible understandings of the spectacle, as fetishism, hyper-reality or performativity, this essay invites organization scholars to examine the organization of the real and the making of organizations through processes of spectacular representation including discursive practices, visual images and theatrical performances.

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2

Lytton, Randolph H. "Spectacle and Society in Livy'sHistory." History: Reviews of New Books 27, no. 2 (January 1999): 86. http://dx.doi.org/10.1080/03612759.1999.10528348.

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Monteiro, Dulcinéa da Mata Ribeiro. "Espiritualidade e saúde na sociedade do espetáculo." O Mundo da Saúde 31, no. 2 (June 6, 2007): 202–13. http://dx.doi.org/10.15343/0104-7809.200731.2.8.

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4

Heroldová, Helena. "Spectacles and Embroidered Spectacle Cases from China in the Náprstek Museum." Annals of the Náprstek Museum 40, no. 1 (June 1, 2019): 103–20. http://dx.doi.org/10.2478/anpm-2019-0007.

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Abstract Spectacles from China appear in many museum collections, and they are popular collectibles in private collections. The collection of ten spectacles and their cases in the Náprstek Museum in Prague shows its technological and material development from the pince-nez type in the second half of the 19th century to early 20th century tortoiseshell and plastic spectacles. As signs of learning, these different types of spectacles and their cases show their social context and meaning in Chinese society during the transition period from the traditional to the modern era.

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5

Brown, Robert, and Andrew Feldherr. "Spectacle and Society in Livy's History." Classical World 93, no. 2 (1999): 205. http://dx.doi.org/10.2307/4352395.

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6

Trier, James. "Guy Debord's The Society of the Spectacle." Journal of Adolescent & Adult Literacy 51, no. 1 (September 2007): 68–73. http://dx.doi.org/10.1598/jaal.51.1.7.

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7

Moore, Timothy J. "Spectacle and Society in Livy's History (review)." American Journal of Philology 121, no. 3 (2000): 487–90. http://dx.doi.org/10.1353/ajp.2000.0039.

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8

Lee, Francis L. F. "Spectacle and Fandom: Media Discourse in Two Soccer Events in Hong Kong." Sociology of Sport Journal 22, no. 2 (June 2005): 194–213. http://dx.doi.org/10.1123/ssj.22.2.194.

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This article examines the role of the news media in the production of media sports spectacle through representation of soccer fandom and articulation of the meanings of sports events. The article analyzes the visits of two European soccer teams (Liverpool FC and Real Madrid) to Hong Kong in the summer of 2003. Newspaper discourses are found to generate a picture of generalized fandom and normalized fanaticism towards these events. At the same time, the media articulated the meanings of the events within the context of both global and local processes. The overall result is that public discourse embraced the commercialization of sports, and the media helped to transform the preseason “friendlies” into hugely successful spectacles. These results are understood within the theoretical framework of the society of the spectacle proffered by Debord (1995), though the analysis also points to the limitations of Debord’s framework.

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Sasani, Samira, and Marjan Darayee. "Suzanne Collins’ Hunger Games and the Society of the Spectacle." International Letters of Social and Humanistic Sciences 48 (February 2015): 31–40. http://dx.doi.org/10.18052/www.scipress.com/ilshs.48.31.

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The theory of spectacle is introduced by Guy Debord in his famous book The Society of Spectacle. Debord presents the society of Spectacle as a mere representation of seemingly real images which is used by the capital for its own good. Spectacle consists of images such as games, entertainments or television shows which are political tools in the hands of the Capitol to stabilize its power. In fact, by applying these images through different exciting entertainments and shows, the Capitol disperses people more and destroys their unity so that people cannot be united to rebel against the Capitol’s power. This paper tries to apply the theory of spectacle to Suzanne Collin’s Hunger Games and as the title of the novel is very telling of itself, it revolves around the annual event of Hunger Games connoting the starvation of the poor people in the twelve districts and the Capitol. The setting of this novel is Panem which is shown as a dystopia because of its misusing of the modern technologies which are much more developed than our own so that people’s mind will be entrapped within the images produced by these technologies. This research tries to prove that the city of Panem, with its governor President Snow, well represents the society of spectacle. This paper shows the influence of such a society on the poor people of these districts and the way they overcome President Snow.

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10

Bazin, Yoann, Gazi Islam, Martin Parker, and Yiannis Gabriel. "The (academic) society of the spectacle (of publication)." M@n@gement 21, no. 3 (2018): 1118. http://dx.doi.org/10.3917/mana.213.1118.

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11

Coates, Nigel. "Making A Spectacle Of Society: Thoughts on Surreality." Architectural Design 88, no. 2 (March 2018): 42–49. http://dx.doi.org/10.1002/ad.2278.

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12

Nitins, Tanya. "Review: Seeing Stars: Spectacle, Society and Celebrity Culture." Media International Australia 138, no. 1 (February 2011): 165. http://dx.doi.org/10.1177/1329878x1113800123.

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13

Jaeger, Mary. "Spectacle and Society in Livy's History. Andrew Feldherr." Classical Philology 95, no. 2 (April 2000): 232–36. http://dx.doi.org/10.1086/449493.

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14

Mehdi Kimiagari, Mohammad. "Spectacular Case of Wintry Dreams: A Debordian Reading of F. Scott Fitzgerald’s “Winter Dreams”." International Journal of Applied Linguistics and English Literature 6, no. 2 (January 4, 2017): 203. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.2p.203.

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A constant failure and frustration of relationships can be traced in most of Fitzgerald’s works of fiction. The most prominent instance seems to be the case of Gatsby and his elusive and obscure object of desire Daisy, yet Fitzgerald’s short stories can be considered as no exception. “Winter Dreams” is one of the short stories in which the prospect of an imminent downfall of relationship always haunts the protagonist. This essay attempts to shed light on the roots of this meltdown through Guy Debord’s theories. As a founding member of Situationist International (SI), Debord believed that the modern world’s defining characteristic is spectacle which mediates the relationships among the members of society. The lack of directness and immediacy which is caused by the Society of the Spectacle (La Société du Spectacle) seems to be the originator of the unremitting failure between the characters in the case of “Winter Dreams” and therein lies the rub.Keywords: F. Scott Fitzgerald, Guy Debord, The Society of the Spectacle (La Société du Spectacle), Sign-value, Exchange-value

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15

Rogers, Dylan Kelby. "Water Culture in Roman Society." Brill Research Perspectives in Ancient History 1, no. 1 (March 16, 2018): 1–118. http://dx.doi.org/10.1163/25425374-12340001.

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Abstract Water played an important part of ancient Roman life, from providing necessary drinking water, supplying bath complexes, to flowing in large-scale public fountains. The Roman culture of water was seen throughout the Roman Empire, although it was certainly not monolithic and it could come in a variety of scales and forms, based on climatic and social conditions of different areas. This discussion seeks to define ‘water culture’ in Roman society by examining literary, epigraphic, and archaeological evidence, while understanding modern trends in scholarship related to the study of Roman water. The culture of water can be demonstrated through expressions of power, aesthetics, and spectacle. Further there was a shared experience of water in the empire that could be expressed through religion, landscape, and water’s role in cultures of consumption and pleasure.

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16

Fitri, Alifa Nur. "I Like Dangdut Chalange Dangdut sebagai Sebuah Society of Spectacle." Interaksi: Jurnal Ilmu Komunikasi 5, no. 2 (March 29, 2017): 166. http://dx.doi.org/10.14710/interaksi.5.2.166-176.

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Abstraksi:Now, we find so many challenge for charity, one of them and popular is Ice Bucket Challenge. The goal of challenge to helps research ALS disease, and this challenge success to help them. One of program television in Indonesia, Indosiar make a same challenge. This challenge not for help ALS patient but for help many children to get educate more better, and this program name is “I Like Dangdut Challenge”. I Like Dangdut Challenge is one of program in “D’Terong Show”one of popular dangdut program in Indosiar. This is form of epigonism, ALS get good response from people and Indosiar create same challenge to get good response too. Why Dangdut,not another genre music? Because Dangdut is music from Indonesia and many people young or old can enjoy it. This challenge invite artist, actor, public officials, minister, district head and society to show and dancing with dangdut music, and upload they video in Indosiar. Some public figure was following “I Like Dangdut Chellenge” is Aliando and Prily Ratuconsina, Ganjar Pranowo Governoor of Central Java, Ridwan Kamil Distric Head of Bandung, CEO of Semen Indonesia Dwi Soetjipto, Ignasius Jonan, Emirsyah Satar and Dahlan Iskan. Andrew N. Weintraub describtion Dangdut as repertoire (of song, text, and spin off stylke), a community(singer, arranger, mucisians, produser, and fans) a performance style (spectacular, excessive, and over the top) and a discource abaout social relations of power. (Andrew, 2010:15). And now Dangdut is different, not only for underclass but highclass too. Media make dangdut as a spectacle for society, from reality and make it to be a spectacle. Dangdut is a commodity for owner media, to get money, and the ways to society approve it is make it a spectacle to society. Keywords: Spectacle, Epigonism, Economy Political Media.

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17

Kaplan, Richard L. "Between mass society and revolutionary praxis: The contradictions of Guy Debord’s Society of the Spectacle." European Journal of Cultural Studies 15, no. 4 (August 2012): 457–78. http://dx.doi.org/10.1177/1367549412442208.

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18

McDonald, P. "Guy Debord, Comments on the Society of the Spectacle." Screen 32, no. 4 (December 1, 1991): 491–94. http://dx.doi.org/10.1093/screen/32.4.491.

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19

Carpinschi, Anton. "Captive Mind Syndrome and the Society of the Spectacle." Journal of Intercultural Management and Ethics 3, no. 4 (December 8, 2020): 51–61. http://dx.doi.org/10.35478/jime.2020.4.06.

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20

Kasperski, Edward. "Different Faces of the Spectacle." Tekstualia 1, no. 1 (January 2, 2013): 341–58. http://dx.doi.org/10.5604/01.3001.0013.6156.

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The article ﬁrst reﬂects upon Guy Debord’s concept of the society of the spectacle and discusses some of its aspects, such as the theatricality of all human gestures and relations, the marginalization of privacy, and the inﬂuence of mass culture on the human imagination. The boundary between art and entrepreneurship has blurred, and there are not any permanent aesthetic or ethic criteria of assessing the value of art. Subsequently, the article describes three possible relations between the modern society of the spectacle and its literature: 1) (popular) literature and its attachment to the logic of the spectacle, 2) (high) literature as a vehicle for cultural criticism, 3) the theatrical/ dialogical aspect of all human enunciations.

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21

Apostolidès, Jean-Marie. "The Big and Small Theatres of Guy Debord." TDR/The Drama Review 55, no. 1 (March 2011): 84–103. http://dx.doi.org/10.1162/dram_a_00050.

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Founder of the avantgarde movement Internationale situationniste in 1957, Guy Debord is also known for his provocative essay The Society of the Spectacle, first published in 1967 and since translated into numerous languages. Is it possible to connect the concept of “spectacle” to theatre?

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22

Tupitsyn, Victor. "Fried avec Debord: Theatricality by Default." Journal of Visual Culture 16, no. 1 (April 2017): 74–88. http://dx.doi.org/10.1177/1470412917690968.

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The title of this article alludes to Jacques Lacan’s text ‘Kant avec Sade’ (1963). With that in mind, the author compares Michael Fried’s Art and Objecthood (1998[1967) to Guy Debord’s The Society of the Spectacle, also published in 1967. Whereas Fried unleashes his criticism against ‘the condition of theatre’ and its mounting presence in the realm of visual culture, Debord accuses spectacle of ‘becoming a life style’, endorsed by power structures and fuelled by the media. Chances are that neither art nor objecthood, but rather the spectacle itself is ‘the chief product of present-day society’. Or should we agree that human beings are homo theatricals, for whom ‘the condition of theatre’ is an inalienable part of their ‘social contract’. Among the issues discussed here are ‘ Heterotopia of the spectacle’ (e.g. play within a play) and the ‘theatrical drive’, which plays a fundamental role in balancing the rivalry between libido (Eros) and the ‘death drive’ (Thanatos) in the playhouse of our psychic life.

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23

Berman, R., D. Pan, and P. Piccone. "The Society of the Spectacle 20 Years Later: A Discussion." Telos 1990, no. 86 (January 1, 1990): 81–102. http://dx.doi.org/10.3817/1290086081.

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24

Larson, Michael. "The Society of the Spectacle and the Opening of Politics." Glimpse 11 (2009): 91–97. http://dx.doi.org/10.5840/glimpse2009-1011-1217.

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25

Carrier, David. "POUSSIN, A CLASSICAL ARTIST IN A SOCIETY OF THE SPECTACLE." Source: Notes in the History of Art 28, no. 4 (July 2009): 40–46. http://dx.doi.org/10.1086/sou.28.4.23208583.

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26

Wright, Wendy. "Michelle Brown, The Culture of Punishment: Prison, Society, and Spectacle." Punishment & Society 13, no. 4 (October 2011): 489–90. http://dx.doi.org/10.1177/1462474510383465.

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27

Eagles, Julian. "The Spectacle andDétournement: The Situationists' Critique of Modern Capitalist Society." Critique 40, no. 2 (May 2012): 179–98. http://dx.doi.org/10.1080/00111619.2012.664726.

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28

Bouclin, Suzanne. "Book review: The Culture of Punishment: Prison, Society, and Spectacle." Crime, Media, Culture: An International Journal 8, no. 2 (July 25, 2012): 233–36. http://dx.doi.org/10.1177/1741659011435403.

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29

Manurung, Elvy, and Immanuel Alvin. "Fashion and Desire: The Society of Spectacle in Post Reality." Technium Social Sciences Journal 20 (June 8, 2021): 877–87. http://dx.doi.org/10.47577/tssj.v20i1.3634.

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Fashion was a contemporary phenomenon that increasingly developed to meet the needs of users in its digital industry era. The rapid development of fashion has made the industry compete to present the latest fashions faster and faster. The support and advances of the Internet in communication technology have helped to accelerate the spread of power through virtual networks. Digital media have brought people into a new experience, namely "post-reality", that had never existed. This study focuses on fashion consumption in the form of clothes with a fast production scale or fast-fashion along with low costs, as well as sneakers that were consumed by young people. One hundred and twenty-nine students at five universities in West Java Indonesia have interviewed. Using a qualitative method which was supported by the summary of the distribution of questionnaires, conducted throughout 2019 and early 2020, the results of this study were then analyzed using Guy Debord's theory of spectacle society. The study has found that the consumption of fast fashion and sneakers by students had an impact on their spending patterns, self-identity, self-confidence, and the role of the user as a commodity spectacle in today's fashion industry.

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Jonckheere, Evelien. "‘Gand a fini par faire comme les autres’." TMG Journal for Media History 20, no. 2 (December 21, 2017): 74. http://dx.doi.org/10.18146/2213-7653.2017.328.

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‘Gand a fini par faire comme les autres.’ The rise of the café-concert and variety theatre in late nineteenth-century Ghent’s ‘society of the spectacle’ Cafés-concerts and variety theatre have generally received only a cursory mention within the vast literature on the late nineteenth-century culture of spectacle in Europe’s major cities. This article uses Ghent as a case study to demonstrate that even in provincial towns, there was an abundance of spectacle available to the public during this era. Cafés-concerts and variety theatre played a particularly significant role and were closely interwoven with the spectacular urban renewal that took place in Ghent during the late nineteenth century. In addition, these forms of entertainment carried the seeds of the type of mass spectacle that would emerge in the twentieth century. Why, then, have the café-concert and variety theatre gone unexplored by academics for so long? In an attempt to answer this question, this article offers a means for identifying these two specific forms of spectacle in major urban centres and provincial towns in Belgium and abroad, thereby enabling a more thorough exploration of the phenomenon based on a wide range of sources. This, in turn, will allow the café-concert and variety theatre to emerge from obscurity and take their rightful place in the debate on the modern ‘society of the spectacle’.

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Teurlings, Jan. "From the society of the spectacle to the society of the machinery: Mutations in popular culture 1960s–2000s." European Journal of Communication 28, no. 5 (July 18, 2013): 514–26. http://dx.doi.org/10.1177/0267323113494077.

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32

Noys, Benjamin. "Destroy Cinema!/Destroy Capital!: Guy Debord'sThe Society of the Spectacle(1973)." Quarterly Review of Film and Video 24, no. 5 (September 10, 2007): 395–402. http://dx.doi.org/10.1080/10509200500536041.

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33

Han, Sora Y. "The Culture of Punishment: Prison, Society, and Spectacle. By Michelle Brown." Law & Society Review 45, no. 2 (May 25, 2011): 518–20. http://dx.doi.org/10.1111/j.1540-5893.2011.00442_4.x.

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34

Gerrard, Jessica, and David Farrugia. "The ‘lamentable sight’ of homelessness and the society of the spectacle." Urban Studies 52, no. 12 (July 17, 2014): 2219–33. http://dx.doi.org/10.1177/0042098014542135.

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35

Белик, Елена, and Elena Belik. "THE ROLE OF POLITICAL SYMBOLS IN «THE SOCIETY OF THE SPECTACLE» BY GUY DEBORD." Bulletin of Kemerovo State University. Series: Political, Sociological and Economic sciences 2017, no. 2 (June 25, 2017): 11–16. http://dx.doi.org/10.21603/2500-3372-2017-2-11-16.

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The article reviews the meaning of political symbols in the modern society through the prism of Guy Debord's political and philosophical tractate «The Society of the Spectacle». It introduces a notion of political symbols - a specific form of social communication; such symbols give each agent the opportunity to identify themselves with a certain political community; they are an important part of political activity. All this becomes possible due to a long history of transformation of political signs and symbols that have the same meaning for most members of sociopolitical relations. Political symbols represent a «soft political power» that affects people via sight, which is the most abstract of senses, according to the author of «The Society of the Spectacle». As a result, political symbols have become essential part of modern political life, creating or maintaining an illusion of free choice. In order to negate spectacle's influence Debord offers to think and act creatively, building relations according to one's personal beliefs, as opposed to following patterns and imposed symbols.

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36

Mihailidis, Paul, and Samantha Viotty. "Spreadable Spectacle in Digital Culture: Civic Expression, Fake News, and the Role of Media Literacies in “Post-Fact” Society." American Behavioral Scientist 61, no. 4 (March 27, 2017): 441–54. http://dx.doi.org/10.1177/0002764217701217.

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This article explores the phenomenon of spectacle in the lead up and immediate aftermath of the 2016 U.S. presidential election. Through the spread of misinformation, the appropriation of cultural iconography, and the willing engagement of mainstream media to perpetuate partisan and polarizing information, the proliferation of populist rhetoric, polarizing views, and vitriolic opinions spread. Revisiting the world of critical theorist Guy Debord, this article argues that the proliferation of citizen-drive spectacle is unique in its origination and perpetuation, and a direct result of an increasingly polarized and distrustful public spending an increasing amount of time in homophilous networks where contrarian views are few and far between. We apply the frame of spreadable media to explore how citizen expression online initiated, sustained, and expanded the media spectacle that pervaded the 2016 U.S. presidential election. The conclusion of this work argues that media literacies, as a popular response mechanism to help cultivate more critical consumers of media, must be repositioned to respond to an era of partisanship and distrust. We present a set of considerations for repositioning the literacies to focus on critique and creation of media in support of a common good, and that can respond meaningfully in an era of spreadability, connectivity, and spectacle.

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Kaya, Sevde. "Guy Debord'un "Gösteri Toplumu" Adlı Çalışması Bağlamında Mekân ve Modanın Tüketim Unsuru Olarak İncelenmesi / The Examination of Space and Fashion as a Component of Consumption in the Context of "Society of Spectacles" of Guy Debord." Journal of History Culture and Art Research 6, no. 3 (June 16, 2017): 818. http://dx.doi.org/10.7596/taksad.v6i3.901.

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<p><strong>Abstract</strong></p><p>Since the occurance of the concept of consumption, it has been discussed by a number of theorists. In these works, the concept of consumption has been analyzed in many different ways. Even though the consumption concept is a very financial issue, the social scientists have done some studies about consumption. In this work, I will examine the consumption perception of Guy Debord who is an influential figure for several future studies and who is a preminent actor among other consumption theorists. Debord states that the consumption is imposed to individuals via virtual reality and it is presented to the daily lives of individuals in a very pragmatic way. Debord calls the communities in which people give priority to consumption upon arranging the social relations as ‘society of spectacles’.</p><p>Debord relates the concept of spectacle to the consumption. He suggests that spectacle manipulates the daily life and increases the will to consume and passivates individuals. The concept of spectacle has grown with the emergence of the leisure time and has been directed to daily pratic after the places were related to consumption. In this work, the relation between spectacle and consumption that Debord set up is examined. In the work, it is deduced that in order to accelerate the consumption, spectacle utilizes some areas such as mass media, place and fashion.</p><p><strong>Öz</strong></p><p>Tüketim kavramı ilk ortaya çıktığı andan beri birçok kuramcı tarafından tartışılmıştır. Bu çalışmalar tüketim kavramını çok farklı yönleriyle ele almıştır. Tüketim kavramı iktisadi bir konu olsa da sosyal bilimciler de tüketim ile ilgili çalışmalar yapmıştır. Bu çalışmada tüketim kuramcıları arasında önemli bir yer tutan ve fikirleri gelecek araştırmalar için esin kaynağı olan Guy Debord’un tüketim anlayışı incelenecektir. Debord, tüketimin sanal bir gerçeklik yoluyla bireylere dayatıldığını ve bu dayatmaların son derece pratik yollarla bireylerin gündelik hayatlarına sunulduğunu ifade etmektedir. Debord bireylerin pasifleştiği ve tüketimin toplumsal ilişkileri düzenlemede temel etken olduğu toplumlara “gösteri toplumu” adını vermiştir.</p><p>Debord gösteri kavramı ile tüketim arasında ilişki kurmuştur. Gösterinin gündelik hayatı manipüle ettiğini, tüketim arzusunu arttırdığını ve bireyleri pasifleştirdiğini belirtmiştir. Gösteri kavramı boş zamanın ortaya çıkması ile filizlenmiş, mekânların tüketime eklemlenmesi ile gündelik pratiğe aktarılmıştır. Bu çalışmada, Debord’un gösteri ile tüketim arasında kurduğu ilişki incelenmiştir. Gösterinin tüketimi hızlandırmak için kitle iletişim araçları, mekân ve moda gibi alanlara başvurduğu tespit edilmiştir.</p>

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38

PUCHNER, MARTIN. "Society of the Counter-Spectacle: Debord and the Theatre of the Situationists." Theatre Research International 29, no. 1 (March 2004): 4–15. http://dx.doi.org/10.1017/s0307883303001214.

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This article examines the work of the Situationists and their leading member, Guy Debord, as it relates to theatre history and the history of the manifesto. The Situationists privileged the writing of manifestos over the production of art works in order to avoid the fate of the historical avant-garde, whose provocative art had been co-opted by the cultural establishment. Despite this pro-manifesto and anti-art stance, the Situationists drew on the theatre, envisioning the construction of theatrical ‘situations’ influenced by the emerging New York happening as well as modern theatre artists such as Brecht and Artaud. This theatrical inheritance prompted a recent theatrical representation of their activities based on Greil Marcus's Lipstick Traces. What this theatrical rendering demonstrated, however, is that the theatricality of the ‘situation’ is different from that produced on a stage, reminding us that the strategies of the neo-avant-garde cannot be easily transferred to a traditional theatrical form.

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39

Osumare, Halifu. "Becoming a “Society of the Spectacle”: Ghanaian Hiplife Music and Corporate Recolonization." Popular Music and Society 37, no. 2 (January 10, 2013): 187–209. http://dx.doi.org/10.1080/03007766.2012.747262.

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40

Zuurbier, Peter. "Contestation, a Deeper Seduction." Stream: Interdisciplinary Journal of Communication 5, no. 1 (January 13, 2014): 45–57. http://dx.doi.org/10.21810/strm.v5i1.80.

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Individual media events, from the extraordinary to the mundane, as well as the logic they present, have transcended society. Media events no longer happen in isolation, they are intertextually and extratextually linked and mixed together. The ability to view, create, join in, and affect the shape of media events has caused a profound shift in the conception of what they are. What Daniel Dayan and Elihu Katz refer to as individual media events, Guy Debord, Michel Foucault and Douglas Kellner consider collectively as spectacle. Their work on media events and spectacle features a debate on the role of contestation within it. Live audience members have an opportunity to impact media events and the spectacle either through individual or collective action. This action can go along with the intents ascribed to the media event and spectacle, or it can oppose them. Contestation often takes the form of an oppositional interruption of the linear messaging promoted within media events and spectacle. Contestation is typically a strategy used by voices that feel marginalized by the images of the spectacle. But contestation of media events and spectacle through their own logic becomes a means of deeper seduction.

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Aronson, Oleg. "Preliminary Remarks toward a Formal Understanding of Revolution." South Atlantic Quarterly 119, no. 3 (July 1, 2020): 521–33. http://dx.doi.org/10.1215/00382876-8601386.

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In this essay, Oleg Aronson proposes to view the protests of 1968 as a continuation of the social revolutionary processes initiated by the French Revolution. The author interprets revolution not as an event of historical rupture but as a process of long duration (in the sense of Fernand Braudel’s longue durée). Signs of such revolution are found beyond the regime of human perception and contemplation, beyond the categories of space and time, in the zone of common sense (sensus communis), which Kant saw in such manifestations as the enthusiasm that joins a universal audience (the public) when it is enchanted by the spectacle of revolution. The article attempts to show how, as mass society develops, the revolution shifts from action to spectacle. However, if we view mass society itself as an effect of the revolutionary process of long duration, then freedom, equality, and fraternity (commonality) turn out to be less values affirmed by revolution than invariants of a common sense, outside of which they are unthinkable and unimaginable. Being unrepresentable, they constantly receive representative equivalents, which constitute the spectacle. The author proposes to use them as social imaginaries (in the sense of imaginary numbers in mathematics), which indicate the dynamics of processes that exceed the framework of individual and historical (albeit still anthropometric) understanding. Such an analysis of revolution as a process, and not as a concrete historical event, allows us to see it less as a transformation of society than as the surmounting of the human order itself, of the world of values that are understood as immutable and whose violation always looks like lawlessness.

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Bryden, D. J., and D. L. Simms. "Spectacles improved to perfection and approved of by the Royal Society." Annals of Science 50, no. 1 (January 1993): 1–32. http://dx.doi.org/10.1080/00033799300200101.

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Swyngedouw, Erik. "The Strange Respectability of the Situationist City in the Society of the Spectacle." International Journal of Urban and Regional Research 26, no. 1 (March 2002): 153–65. http://dx.doi.org/10.1111/1468-2427.00369.

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Prodanov-Krajišnik, Ira. "Music festivities of Novi Sad (Nomus) in 2015 and Society of the spectacle." New Sound, no. 46 (2015): 85–91. http://dx.doi.org/10.5937/newso1546085p.

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NGUYEN, V. HENRY T. "The Identification of Paul's Spectacle of Death Metaphor in 1 Corinthians 4.9." New Testament Studies 53, no. 4 (September 6, 2007): 489–501. http://dx.doi.org/10.1017/s0028688507000240.

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Scholars have proposed various explanations for Paul's metaphor of a spectacle (θεατρον) in 1 Cor 4.9 – a Roman triumphal procession, a gladiatorial show, and more recently, a mime performance. Although scholars have presented substantial arguments in favour of their identifications, the details in the text do not totally resonate with any of the proposals. Rather, this article will advance a refined identification of Paul's metaphor that better agrees with the particulars of 4.9 and its context: the Roman spectacle of executing condemned criminals (noxii) within the arena, which was a significant social event in Roman society.

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Bowles, Kate. "‘Society with Spectacles’: Cultural Memory, Business Risk and the Revival of 3D." Media International Australia 139, no. 1 (May 2011): 103–12. http://dx.doi.org/10.1177/1329878x1113900114.

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The revival of 3D film and television has engaged media retailers and analysts in discussion of the risks associated with novelty viewing, and the likely barriers to wide acceptance. Research by the University of Southern California shows that purchasing decisions are shaped by perceptions of the history of 3D, and its association with ‘kitschy photos of ‘50s movie-house audiences’. In this article, I reflect on one of the most well known of these photographs, in relation to other depictions of the novelty viewing experience of the early 1950s. I suggest that both industry and scholarly analysis might benefit from a more nuanced account of ‘the spectacle’, based on the contribution of qualitative micro-research into the social nature of the audience experience, and argue that the 3D revival offers a valuable opportunity to develop this research.

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Stoyan, Arsen Aleksandrovich. "ROLE OF DOUGLAS KELLNER’S MEDIA SPECTACLE IN THE STRUCTURE OF THE MODERN MASS SOCIETY." Manuscript, no. 11 (November 2019): 152–56. http://dx.doi.org/10.30853/manuscript.2019.11.27.

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Pache, Gilles. "Sustainability Challenges in Professional Football: The Destructive Effects of the Society of the Spectacle." Journal of Sustainable Development 13, no. 1 (January 30, 2020): 85. http://dx.doi.org/10.5539/jsd.v13n1p85.

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For a long time considered as a simple means of entertainment, football (soccer) has now become a main element of the society of the spectacle, with huge economic and financial stakes. A series of competitions are managed to generate significant revenues shared by international institutions (including FIFA), private companies and star players. This paper points out that professional football is engaged in a headlong rush, including the irrational use of non-renewable resources and frantic consumption among fans, especially of licensed merchandise. Dialogue between football stakeholders and the advocates of sustainability has become difficult, as evidenced by the conditions under which the 2022 FIFA World Cup will take place in Qatar, with three major controversies: initial controversies in the choice of host country; environmental controversies about stadium air conditioning; and future controversies regarding the importance of sustainability in the allocation of the next FIFA World Cups.

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Nunn, Emilie. "Social media as an extension of Guy Debord’s The Society of the Spectacle (1967)." Journal of Arts Writing by Students 5, no. 1 (March 1, 2019): 79–91. http://dx.doi.org/10.1386/jaws.5.1.79_1.

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Milerius, Nerijus. "The Everyday as Revolution and Resistance: G. Debord and M. de Certeau." Problemos 96 (October 16, 2019): 160–71. http://dx.doi.org/10.15388/problemos.96.13.

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The paper analyzes the effort to rethink the status of everyday life in the context of consumer society. Two concepts of everyday life are interpreted – Guy Debord’s critique of society of the spectacle, and Michel de Certeau’s concept of everyday life as resistance. As Debord says, the purpose of the critique of the everyday is to recharge the entire system of capitalism. By capturing the radical contrast between the current meager status of everyday life and the potential of the everyday, Debord was convinced that a radical discrimination of everyday life can only be overcome by radical means – the revolution of the everyday. Rejecting the possibility of transforming the entire structure of the society through everyday life, de Certeau focused on the everyday as resistance to the strategic domains of society. Thus, de Certau’s goal is not to transform the entire system, but to maintain the resilient potential of everyday life as a constant opportunity for daily renewal. The paper concludes that it is the attitudes of everyday life such as resistance that have influenced visual and urban studies.

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