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 论文编号：
lw200707250757417537 |
| 论文属性：
Notes |
| 论文语言：English |
| 论文国家：China |
| 登出日期： 2007-07-25 |
| 字数： 5000 |
| 源程序：
无 |
| 价格：
免费论文 |
| 参考相关附件： |
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| 论文大纲，目录 |
| 关键词搜索：AC640 Government Public Policy Political Communication Citizens and Culture |
culture in its entirety. They must form a
counterculture—one based on freedom and individualism.” (p. 31)
So where traditional politics values institutional change and material reform, contemporary
politics (organized on countercultural terms) favours symbolic change and lifestyle reform.
This, for Heath and Potter, is a mistake that naively assumes that cultural change is
sufficient to changing actual power relations in the world; underestimates the resilience of
consumerist and liberal ideologies supporting capitalism; and neglects the fact that
mainstream and consumer culture has demonstrated a powerful capacity to co-opt
radicalism and dissent, and then transform it into just another product for sale. The lyrics
from the Nirvana anthem “Smells Like Teen Spirit” echo this paradox—the commodification
of dissent: “Here we are now/Entertain us/I feel stupid and contagious.”
4. Alternatives and Applications: The Situationists and the Origins of Culture
Jamming
“The Situationists spoke often of the 'spectacle' of modern life. The term 'spectacle'
encompasses everything from billboards to art exhibitions to soccer matches to radio and TV. Broadly speaking, it meant modern society's 'spectacular' level of commodity
consumption and hype. Everything human beings once experienced directly had been
turned into a show put on by someone else. Real living had been replaced by pre-
packaged experiences and media-created events. Immedia英语论文网 【http://www.51lunwen.org】cy was gone. Now there was
only 'mediacy' -- life as mediated through other instruments, life as a media creation. The
Situationists used the term 'kidnapped': the spectacle had 'kidnapped' our real lives, co-
opting what ever authenticity we once had.”
Kalle Lasn, in his book Culture Jam, 2000, p. 101
Guy Debord (1931-1994) was a French essayist and filmmaker who helped found the
Situationist International, a movement of café radicals that rose out of the ruins of surrealism
in the 1950s. After his death by suicide, an obituary noted that he "drank too much and
wrote too little." However, his slim critique of the alienation and commodification of
consumer capitalism, Society of the Spectacle (1967), became a main text of the worldwide
student-led cultural revolts in May 1968. Nearly three decades later the book remains a
major source of information and inspiration for cultural studies academics, anarchists,
punks, and direct-action activists. If culture-jamming has a bible, it is Society of the
Spectacle; and if counter-culture has a saint, it is Guy Debord.
The Situationists were a group of anarchists who came together in France in the mid-
1950s, and we can consider theirs an "anarchist" view of culture. As Kalle Lasn, Vancouver-
based publisher of Adbusters magazine has written, the Situationists were original in
applying the "spirit of anarchy to modern media culture" and were the first “postmodern
revol
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