Renee Curva
Convergence
Society of the Spectacle Post
23 September 2015
Throughout history, the
progression of technology spurred the creation of media and provided a vehicle
for the ominous spectacle. The society of the spectacle can be known as the
universal audience that is effected by, and may participate in, numerous forms
of mass media. From the penny press, telegrams, to the radio, New York Times,
and Twitter, the need for communication within society has never dwindled. In
the 21st century, the ‘bigger’ society of the spectacle is almost
anyone with a smartphone or access to the internet, television, and/or written
word.
Debord describes the
spectacle and its impact by noting the fetishism found within society for
projected images. Forms of the spectacle such as the television and movie
theater, transformed the society into something that finds completion in images
and things. Perceptible things such as a new purse featured in magazine ads and
imperceptible things are all advertised by the spectacle. “The spectacle is a
permanent opium war designed to force people to equate goods with
commodities...”(Debord,36). Debord explains that by taking part in an economy
that was shaped by the spectacle, the consumer themselves gives into the “modern
complement of money” (Debord, 49). For example, if a certain make up product is
featured on Kylie Jenner’s Instagram page, the spectacle (in the form of social
media) entices the mass public to purchase a certain product being marketed by
Jenner. This example is just one of many, showing how society has imprinted on
the spectacle.
In The Society of the Spectacle, Debord explains the theme of
commodity through the transformation of the economy. He elaborates on a ‘commodity
economy,’ a fiscal power house that was jump started by society’s fetish for
the spectacle. “With the Industrial Revolution’s manufactural division of labor
and mass production for a global market, the commodity…was colonizing all
social life” (Debord, 41). Because of the spectacle, Debord argues that a significant
amount of social status is placed on the commodity by the public.
The
work force and capitalist economy have created a new thirst among the public.
Debord noted, “the vast majority of people are still forced to take part as
wage workers in the unending pursuit of the system’s ends…”(Debord, 47). Women’s
magazines are a perfect example of the constant development of commodity as
spectacle. Each month’s issue of a fashion magazine will feature new clothes,
trends, and products. A working woman who follows these magazines and gives in
to the commodities, prides herself on being current and holds herself to the
same level of said fashion magazine. The same can even be said about the amount
of importance put on upgrading to the newest edition of an iPhone. This shows
the socioculture factors placed on commodities. The people work to spend money
and participate in the spectacle, giving power to the commodity and creating a
new need for survival. Debord explains the reciprocal relationship between
commodity and spectacle by saying, “The real consumer has become a consumer of illusions.
The commodity is the materialized illusion and the spectacle is its general expression”(Debord,47).
Society will always be hungry and willing
to spend money on the commodity, further reinforcing the spectacle.
This picture depict's society's fetishism for projected images through technology. Increasingly, over the years of the smartphone, people have been more attuned to their cell phones rather than with the company of other people.
This picture depicts the commodity as a materialized illusion. The cut out Barbie eyes are used to satirize society's beauty standards. Cosmetic procedures, as exemplified by pop culture icons such as the Kardashians, are a materialized illusion marketed through the spectacle.
Bibliography:
Debord, Guy-Ernest. "The Society of the Spectacle." The Situationist International Text Library. N.p., 1967. Web. 30 Sept. 2015.
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