Search results for: Baudrillard

Authors: Mario G. Rodriguez

Abstract:

This paper undertakes an in-depth exploration of David Cronenberg's filmography through Jean Baudrillard's theory of simulacra and simulation. Little has been written to show how Cronenberg’s cinema exemplifies Baudrillard’s conceptualization of postmodernity. The study employs Baudrillard’s historical orders of simulacra, as well as his definitions of hyperreality and simulation, to recontextualize Cronenberg’s films in an era characterized by the increasing influence of media and technology and Cronenberg's oeuvre presents a compelling canvas for examining the interplay between the real and the simulated. Through films like "Videodrome" (1983), "The Fly" (1986), and "eXistenZ" (1999), Cronenberg navigates the complex terrain of the human body, technology, and societal perceptions, echoing Baudrillard's concerns about the hyperreal and the dissolution of reality. The study concludes with a consideration of the role of "body-horror" as it pertains to Baudrillard's theory. It sheds light on how fear of loss of bodily autonomy, the relationship between technology and the human body, and the intersection of science, medicine, and horror reflect the nature of hyperreality and simulation.

Keywords: Cronenberg, hyperreality, simulation, Baudrillard

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Authors: Francesco Piluso

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Nowadays, to restore the deconstructive power of semiotics implies a critical analysis of neoliberal ideology, and, even more critically, a confrontation with materialist perspective. The theoretical path of Jean Baudrillard is crucial to understand the ambivalence of this intersection. A semiotic critique of Baudrillard’s work, through tools of both structuralism and interpretative semiotics, has the aim to give materialism a new consistent semiotic approach and vice-versa. According to Baudrillard, the commodity form is characterized by the same abstract and systemic logic of the sign-form, in which the production of the signified (use-value) is a mere ideological mean for the reproduction of the signifiers-chain (exchange-value). Nevertheless, this parallelism is broken by the author himself: if the use-value is deconstructed in its relative logic, the signified and the referent, both as discrete and positive elements, are collapsed on the same plane at the shadows of the signified forms. These divergent considerations lead Baudrillard to the same crucial point: the dismissal of the material world, replaced by the hyperreality as reproduction of a semiotic (genetic) Code. The stress on the concept of form, as an epistemological and semiotic tool to analyse the construction of values in the consumer society, has led to the Code as its ontological drift. In other words, Baudrillard seems to enclose consumer society (and reality) in this immanent and self-fetishized world of signs–an ideological perspective that mystifies the gravity of the material relationships between Northern-Western World and Third World. The notion of Encyclopaedia by Umberto Eco is the key to overturn the relationship of immanence/transcendence between the Code and the economic political of the sign, by understanding the former as an ideological plane within the encyclopedia itself. Therefore, rather than building semiotic (hyper)realities, semiotics has to deal with materialism in terms of material relationships of power which are mystified and reproduced through such ideological ontologies of signs.

Keywords: Baudrillard, Code, Eco, Encyclopaedia, epistemology vs. ontology, semiotics vs. materialism

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Authors: Yu Cheng-Yu

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‘Heterotopia’, ‘Visual Cultural Art Education’ and ‘New Media’ of these three subjects seemingly are irrelevant. In fact, there are synchronicity and intertextuality inside. In addition to visual culture, art education inspires students the ability to reflect on popular culture image through visual culture teaching strategies in school. We should get involved in the community to construct the learning environment that conveys visual culture art. This thesis attempts to probe the heterogeneity of space and value from Michel Foucault and to research sustainable development strategy in ‘New Media Art Village’ heterogeneity from Jean Baudrillard, Marshall McLuhan's media culture theory and social construction ideology. It is possible to find a new media group that can convey ‘Visual Culture Art Education’ around the National Taipei University of Technology in this commercial district that combines intelligent technology, fashion, media, entertainment, art education, and marketing network. Let the imagination and innovation of ‘New Media Art Village’ become ‘implementable’ and new media Heterotopia of inter-subjectivity with the engagement of big data and digital media. Visual culture art education will also bring aesthetics into the community by New Media Art Village.

Keywords: social construction, heterogeneity, new media, big data, visual culture art education

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Authors: M. C. Steyn

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Violence and entertainment are not mutually exclusive subjects in the Ancient Roman world, in reality they are closely knit together. Their world is permeated by repeated and continuous episodes of violence in its many manifestations, both sanctioned and spontaneous, most of which is considered as some form of entertainment, from plays and writings through the spectrum to the gladiatorial arena. In the 21st century this socio-psychological dynamic is manifested through the stage provided by the screen and what we watch in terms of TV, movies and games. This glorification of violence in a modern world is not out of place as seen in contemporary post apocalyptical/ dystopian literature, film and computer games where the act of violence, frowned upon by social norms and values, becomes sanctioned by the (un)real nature of the game: ‘I am not a violent person, violence is bad, this is just a game’. This paper will examine how violence is framed in the Ancient World and subsequently how it is received by popular culture to represent a world in which the maintenance of stability can only be achieved through officially sanctioned violence, whether sanctioned by the State or the gaming community. This argument will examine both ancient and modern critics of violence such as Senecca, Coleman and Foucault and framed by Baudrillard’s commentary on the post-modern conceptualization of reality.

Keywords: entertainment, violence, gladiatorial games, gaming

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Authors: Nouioua Wafa

Abstract:

It is broadly accepted that the existence of postmodern individuals is distinguished by a predominant presence of skepticism, anxiety and loneliness. This social unrest is the consequence of a drastic shift in how reality and meaning are conceived, which has been replaced by something that is referred to in media theory and criticism as hyperreality. The purpose of this paper is to investigate the hyperreality that exists in the postmodern nihilistic American community that Don Delillo depicts in Zero K (2016) through the use of Jean Baudrillard's notions of Simulacra and Simulations. It is a troubled technological late capitalist society obsessed with immortality and fear of demise, and ergo it is an appropriate reading to implement Sigmund Freud’s theory of life drive (Eros), which refers to the life instinct fundamental to all humans and the urge to support productivity and construction. The results obtained from a qualitative analysis of Zero K indicate the presence of a clash between the character’s life drive and fear of mortality. In an effort to escape loneliness and death, the character Ross Lockhart undergoes, after a moment of hesitation, cryonic freezing in the convergence to preserve his life as well as that of his wife Artis, yet his son Jeffery is firmly convinced of the uselessness of combating the inevitable death.

Keywords: Don DeLillo, Eros, postmodernism Nihilism, Zero K

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Authors: Wafa Nouioua

Abstract:

It is broadly accepted that the existence of postmodern individuals is distinguished by a predominant presence of skepticism, anxiety and loneliness. This social unrest is the consequence of a drastic shift in how reality and meaning are conceived, which has been replaced by something that is referred to in media theory and criticism as hyperreality. The purpose of this paper is to investigate the hyperreality that exists in the postmodern nihilistic American community that Don Delillo depicts in Zero K (2016) through the use of Jean Baudrillard notions of Simulacra and Simulations. It is a troubled technological late capitalist society obsessed with immortality and fear of demise, ergo it is an appropriate reading to implement Sigmund Freud’s theory of life drive (Eros), which refers to the life instinct fundamental to all humans and the urge to support productivity and construction. The results obtained from a qualitative analysis of Zero K indicate the presence of a clash between the character’s life drive and fear of mortality. In an effort to escape loneliness and death, the character Ross Lockhart undergoes, after a moment of hesitation, cryonic freezing in the convergence to preserve his life as well as that of his wife Artis, yet his son Jeffery is firmly convinced of the uselessness of combating the inevitable death.

Keywords: Don Dellilo, Eros, Postmodernism Nihilism, Zero K

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Authors: Miho Tsukamoto

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Since the initial creation of the Barbie doll in 1959, it became a symbol of US society. Likewise, the Licca-chan, a Japanese doll created in 1967, also became a Japanese symbolic doll of Japanese society. Prior to the introduction of Licca-chan, Barbie was already marketed in Japan but their sales were dismal. Licca-chan (an actual name: Kayama Licca) is a plastic doll with a variety of sizes ranging from 21.0 cm to 29.0 cm which many Japanese girls dream of having. For over 35 years, the manufacturer, Takara Co., Ltd. has sold over 48 million dolls and has produced doll houses, accessories, clothes, and Licca-chan video games for the Nintendo DS. Many First-generation Licca-chan consumers still are enamored with Licca-chan, and go to Licca-chan House, in an amusement park with their daughters. These people are called Licca-chan maniacs, as they enjoy touring the Licca-chan’s factory in Tohoku or purchase various Licca-chan accessories. After the successful launch of Licca-chan into the Japanese market, a mixed-like doll from the US and Japan, a doll, JeNny, was later sold in the same Japanese market by Takara Co., Ltd. in 1982. Comparison of these cultural iconic dolls, Barbie and Licca-chan, are analyzed in this paper. In fact, these dolls have concepts of girls’ dreams. By using concepts of mythology of Jean Baudrillard, these dolls can be represented idealized images of figures in the products for consumers, but at the same time, consumers can see products with different perspectives, which can cause controversy.

Keywords: Barbie, dolls, JeNny, idealization, Licca-chan

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Authors: Ana Lucia Mosquera Rosado

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Media is believed to be the reflection of Peruvian society. However, the context in which media content is generated not always respond to an accurate representation of its cultural diversity, since many of the contents portray images of cultural minorities (indigenous and Afro-Peruvian) that contribute to the reproduction of negative stereotypes, having an impact on society. The current research paper aims to discuss the use of parody as a way of representing Afro-Peruvian population in the national television, through the reproduction of negative stereotypes and the construction of the black body, specifically relating the analysis to El Negro Mama, a very popular character in Peruvian television thought to be a portrait of the Afro-Peruvian men. In order to analyze these representations, the research will use the theory of simulation and simulacra, explained by James Baudrillard to understand the replacement of reality as a consequence of both of these concepts. This research paper will also focus on the social reaction to the existence of this character, in order to construct a hypothesis based on the theory of cultural hegemony, conceived by Jackson Lears as a legitimized group of patterns and behaviors that shape social interaction. This theoretical framework will be used to explain the popularity of this character among Peruvian society and the reactions caused by the controversy generated by the demands of civil society to remove the character from national television.

Keywords: media representation, media, race and ethnicity, racist discourse, afro-descendants in the media

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