The Spectacle Of The Real: From Hollywood To 'reality' TV by Geoff King

By Geoff King

Hollywood lighting tricks supply remarkable creations or re-creations that make claims to our cognizance at the grounds in their ‘incredible-seeming reality’. they could look either ‘incredible’ and ‘real’, their attraction in line with their skill to ‘convince’—to seem actual in phrases resembling aspect and texture—and on their prestige as fabricated spectacle, to be favorite as such. At a possible very assorted finish of the audio-visual media spectrum, ‘reality’ tv bargains the spectacle of, supposedly, the ‘real’ itself, a ‘reality’ that levels from the banality of the quotidian to excessive interpersonal engagements (two extremes skilled in gigantic Brother, for example). the 2 additionally overlap, even if, nowhere extra sincerely and jarringly than within the final ‘spectacle of the real’, the destruction of the realm alternate middle in ny, stay tv insurance of which evoked consistent comparability with big-screen fictional photos.

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Real Time, Catastrophe, Spectacle 43 If we can understand television as a catastrophe machine, a kind of stage for catastrophe, the live web-cam is now certainly a part of its mechanics. It is this capacity to capture catastrophe (along with banality) that gives the live cam its currency. reality of representation is substituted for the representation of reality. That is, authenticity arises less from the authenticity of reality per se than the authenticity of the means by which reality is portrayed’ (Crandall 2003: 7).

It had been presumed that the ‘Titanic’, as a haircut, was a subtle concession to the draw of American popular culture, one that signalled the loosening of regimental Taliban codes. However, the emulation of one of America’s most popular screen-angels on the streets of Kabul is far less radical than the style’s new name: as the haircut was called the ‘Titanic’, rather than, the ‘di Caprio’, the emphasis shifts from teen idol to Hollywood event. In this play of mimicry we are reminded of the naiveté of that early 20th-century romantic disaster, the gigantic and impervious vessel of new technology downed by a stubborn block of ice, as well as the vanity of recreating the tragedy, Hollywood style, at the century’s close.

S. based, although with global impact, but the spectacle itself is becoming increasingly global, from the Princess Diana spectacle – probably the most interrogated event in global cultural studies – to 2003 spectacles such as the SARS-related fear of a global epidemic and the global literary and cinematic spectacle of Pottermania. In terms of global spectacle, more distressingly, there is also the al Qaeda global terrorism spectacle that is the topic of my recent book From September 11 to Terror War: The Dangers of the Bush Legacy (Kellner 2003b).

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