By Jeff Lewis
The trendy international turns out trapped among fantasies of countless excitement and the customers of overall worldwide disaster. worldwide Media Apocalypse explores those opposite imaginings via an evolving cultural ecology of violence. Articulated throughout the international media, those apocalyptic fantasies exhibit a profoundly human of challenge.
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Extra resources for Global Media Apocalypse: Pleasure, Violence and the Cultural Imaginings of Doom
Moving beyond the 9/11 decade, these modes of governance and violence continue in other knowledge contentions as a crisis of being, a crisis in which climate change, the rise of China and First World economic implosion appear as new vulnerabilities within an older system of crisis and apocalyptic anxiety. Media knowing It remains for us in this Introduction to clarify several important concepts around knowledge and knowing, and their deployment in this book. In a post-essentialist or post-structuralist frame, ‘knowledge’ is understood as the predicate of discourse: that is, knowledge is constituted out of the language that enables it (Derrida, 1974; Foucault, 1974, 1977b; Lacan, 1988).
Michel Foucault’s (1991, 2011) somewhat underdeveloped theory of ‘governmentality’ and the biopolitics of social hierarchy alerts us to the mechanisms by which these forms of violence and threat are infused in social management systems. This cultural ecology of violence is woven through the social formation, exercising its power as a form of diffuse social and material management. While at one level this material management may seem relatively benign or useful as an organizational tool, it is also the means by which the state creates its networks of power through the hierarchical organization of actual and symbolic violence.
These ‘stories’ may be fictional or non-fictional; in a contemporary setting they may be formed through a broad range of interpersonal and mediated communication systems, forming multiple imaginings and knowledge systems. While the current book has a particular interest in the ‘newer’ digital and interactive media, it nonetheless examines a range of narrative genres, including film, TV, popular music and print. Significantly, this book does not restrict its analysis of geopolitical issues to the news media, which a number of media scholars seem to blame for the social pre-eminence of ‘misinformation’ and ‘neoliberal ideology’ (Cottle, 2009; Fuchs, 2011 Curran, 2011).