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                                                        Guy Debord’s society of the spectacle  113
                           turned and rerouted. The Situationists thus took adverts, comic
                           strips, section of film and inserted subversive commentaries.
                           Détournement is thus the creative re-appropriation of cultural frag-
                           ments that are then reassembled to expose the hidden dynamics of
                           consumer capitalism.



                           The Society of the Spectacle: the argument

                           The Society of the Spectacle, Debord’s major text was published in
                           French in 1967, and translated into English shortly after. It offers a
                           singularly timely, systematic and comprehensive account of the forces
                           at play within the new consumer society. At the most rudimentary
                           level the spectacle can be understood in terms of the infiltration of
                           the mass media (in particular visual media such as television, film,
                           and photography which offer vivid but essentially false images of
                           life) into many aspects of contemporary life.



                           Origins: commodity capital and consumerism

                           For Debord it would be a grave error to see the media and the
                           spectacle as synonymous. While The Society of the Spectacle can be
                           defined as one in which the media has an active role in creating
                           what passes for reality, such a society cannot be explained solely in
                           terms of media. An adequate account of the spectacle must describe
                           its genesis, that is, how a spectacular society emerges from an earlier
                           industrial capitalist society. Debord locates this in the processes of
                           commodification and reification as originally described by Marx and
                           developed more explicitly by Lukács . The spectacle represents an
                                                              2
                           unprecedented development within society due to the qualitative
                           change it brings to social experience and thus to this point Debord
                           is in agreement with Benjamin. Its nature is determined by the basic
                           operations of the capitalist system. This is set out most clearly in the
                           text’s second chapter ‘Commodity as spectacle’, prefaced by the
                           following citation from Lukács:
                             The commodity can only be understood in its undistorted
                             essence when it becomes the universal category of society as a
                             whole. Only in this context does the reification produced by
                             commodity relations assume decisive importance both for the
                             objective evolution of society and for the stance adopted by
                             men towards it. Only then does the commodity become crucial
                             for the subjugation of men’s consciousness to the forms in
                             which this reification finds expression … As labor is progres-
                             sively rationalized and mechanized man’s lack of will is








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