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                           4





                           Marshall McLuhan’s understanding of

                           the media








                           Introduction: The media-friendly theorist

                           Marshall McLuhan (1911–80) was arguably the single most impor-
                           tant media theorist of the twentieth century. Indeed, through his
                           willingness to engage directly with the masses via the media itself,
                           McLuhan was the figure who introduced the wider public to the
                           notion that the media required any theory at all. McLuhan’s cultural
                           and intellectual milieu was quite different to that which produced
                           the critical thinkers addressed in the previous chapters: while they
                           were products and self-appointed heirs of Europe’s intellectual
                           heritage, McLuhan was a son of the New World. Similarly, while their
                           readings issued from, and assumed the perspective of, Freud, Marx
                           and Nietzsche, McLuhan’s intellectual background was in the anglo-
                           phone world of literary criticism. He is not usually considered to be
                           a critical thinker but, after outlining his key concepts, this chapter
                           demonstrates that it is relatively easy to see his work as an implicit
                           and sometimes explicit critique of the profoundly negative cultural
                           impact of media technologies. In the context of our previous
                           discussions of the decline of auratic symbolic culture (Benjamin and
                           Kracauer) and the subsequent industrialization of culture (Adorno)
                           McLuhan’s work helps us to highlight the specific role played by
                           media technologies in these culturally destructive processes.
                             During his lifetime, and in the decade following his death,
                           McLuhan’s academic standing remained low. His critics accused him
                           of sensationalism, self-promotion and a lack of any formal rigour.
                           Reading McLuhan it is easy to see the reasons for this hostile
                           reception; his prose is often flashy, modish, abounding with (not
                           always successful) puns both verbal and conceptual, and his ideas are
                           often driven by an ‘associative’ rather than synthetic logic. Genesko
                           affectionately terms this provocative style ‘McLunacy’ (Genesko 1999:
                           3), while McLuhan himself referred to it as a mosaic or field approach.
                           It could be argued that both the strength and weakness of








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