The Society of the Spectacle Revisited
The subject of this essay is the elusive theoretical concept of spectacle. After mentioning how the term was used by different authors to describe a society dominated by signs, images and inauthenticity, I shall focus more intently upon Guy Debordʼs La société du spectacle (1967) – the much cited bu...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2008 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/3230 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/3230 |
| Access Level: | acceso abierto |
| Palabra clave: | Spectacle Guy Debord International Situationist Sociedade do espetáculo Espetáculo Internacional Situacionista. Tecnologias do imaginário |
| Sumario: | The subject of this essay is the elusive theoretical concept of spectacle. After mentioning how the term was used by different authors to describe a society dominated by signs, images and inauthenticity, I shall focus more intently upon Guy Debordʼs La société du spectacle (1967) – the much cited but little read classic which traces the emergence and historical development of a later stage of capitalism organized around new forms of domination and abstraction. In the conclusion, I try to respond critically to Debordʼs fatalist remarks, by emphasizing a wide range of contemporary artistic and political movements that opposes the globalized spectacle inspired by the Situationistsʼ thesis and practices. |
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