߱ݼ ſ X ձ X ſ ... ᱦ •ٿ — X ߱ , X # T ߱ ձ, - d X , ›, ɱ / X X ұh, x X ›/ h Ž ›Ÿ , X ‘’ ձ̷ ߱ ߿ ߱ ‡ X DZ › ᱿ ‘X’ sg , ձ h ձ 汿 , ߱ l X •IMAGE— Ѧš , -X x M ›d x , iœ B, B œԿ, ձ K, B – X ǩ† Φ , ‘ h’ – œM V , ›/ X ›Ÿ ‘ ߿S ձ, ’72- ݿ Sh ɱ߱G ‘Is terrorism becoming a spectator sport?’ • 1989€ 22— ɱ ſ La ߱, ‘’ ›Ÿ -ձǿK ɱG X Ž DZ La ›/ h -ѦԨ , ѦԨ, Culture of distance • 1989 € 13— ‘ g’ S, ›S : ɱɱ “We are in one place, usually at home, watching something in another place : at variable distances, which however do not ordinarily matter, since the technology closes the gap to a familiar connection. The familiarity can be an illusion, but the qualitative change when we see really distant events is usually obvious.’ • 1989 € 14— 1982- ɱ‘ Z ߱ ߱ Distance ›M ‘illusion’ s ձ ߿ s ›™ Simulation ɱ + ұh , ‘The familiarity can be simulation’ – } › ^ Simulation- › S ™ DZ Reality ӿ h ‘™’, ‘™’ ѿ| ߱ ‘™’ – S- ߱ , - ձ ձ ߿ K, ›K , o – ‘ ’- – ™L S ‘š ’, ձŽ ߿, ߿- s ұ h Žš ›K h ›/ – ‘’- › DZ š œԿ – ‘•by writing—, I can be in possession of a permanent memory-trace.’ • 1991 € 429— DZ œԿ y ӿ , ұ œԿ- MW- ›/ jɱɱ ߿ ›g B, ‘psychic memory’- |‡Q ‘technical memory’- ձM ǿ ɱ , jɱɱ ˝ , ұ ›, ‘߿ ձ ‘Presence’- € , ‘Presence’ , ‘self-validating’ ձ߱ € , ‘ - ‘subject-+ ‘Presence’ , g , ߱ Ͽ € , ߿ ™ M- ‘Provisional Presence’- ұ h , ‘’- B, ‘nothing ends, nothing happens, nothing is forgotten’ – ߿ h š տɱ- G տ™L DZ M B ſM La œԿ ſ , œԿ DZ Ž jɱɱ =/ ſM B, տ™L Ž ™L › •jɱɱ 2001 € 23-24— ſM-S ձ › K --| ſ ձ߱Ž h ߱ ſ, Ǽ jɱɱ ‘’- ‘phantasma of presence’ B ձŽ ‘ ’- , ձ T – “where nothing need be lost, where any and every object can be kept in store, slotted and sustained carefully.” •jɱɱ 2001€ 26— X K , ߱ ‘ q ’ ձ , ‘’-+ K ™L ߱ , ᱿ c S q ‘œԿ’ DZ La K ߱ ձ , ‘nothing ends, nothing happens, nothing is forgotten’ x X Ž S ‘updated’ DZ › } ɱ& X / KC ` , } S h M Ž ߱ ™L ™ ߱ ‘’ , ɱ™L ‘™’- ‘™’ DZ š ‘real time’ , - ›, ‘real time’ ‘ ’- -ձ, ˆſ x / ‘’ x , ձ߱ ™ œ ‘ɱ’’ S œ “welcome to the desert of the real” ™ ӿ- ‡ , S › x ‘ɱ’’ ѿ† • 2002— h B, ɱ - X , “the key feature of the XXth century the passion of the Real / la passion du reel / : in contrast to the XIXth century of the utopian or scientific projects and ideals, plans about the future the XXth century aimed at delivering the thing itself ... The ultimate and defining experience of the XXth century was the direct experience of the Real as opposed to the everyday social reality the Real in its extreme violence as the price to be paid for peeling off the deceiving layers of reality.” • 2002— , ձ Z-S ™ ﱼ ›ɿ -™ / ձ -™, Real, S DZ ߱ - ձ ‘ -߿ culture of distance- ձ ձ- M™L ɱ‘ X -x S™L X - ձ / • 1989 € 15— – X ұ h ߷ ‘ , X ձ’ ... ձ B ‘߱’ › ™ Ǽ թ†› x ɱ‚- / 豿’ X DZ ‘ , ‘ɱ , ձ BREAKING NEWS - DZ B , B, š œ / &h ‘crawler’ – X-S™L -ť Space ձ} i ŽS ɿM ձ - ˝ ߱ ɿM / ձ ’ Uš Ž œ ձ, La DZ œԿ œԿ ձ ‘M’ ‘ ձ’ – ߿ / CNN x ɱ, be the first to know € › h DZ – ձ › ձ ձ › ɿM ™L , զ߱ ӿ ձ š ɱ ձ, , S ձ } Sϼ -i ™ ձ, ձ MM DZ ™ - M ‘™-o’ ™, B , տ ߱ ߱ ‘™’- DZ ߿ } ձ ɱ‚ ۿ k- / h q , ɱ -X S gaze c ձ gaze s ’ › , ‘’ ձ ߱ , ›, ձS߱ , ‘ Ž’ ›˝Ÿ ձ , c ձ ߱ Q߱ gaze s B , gaze Camera-angle- X- Spectacle angle- ߱ſ › ‘ɱ’ ‘’- h - ɱ -h ձ Ž , ‘™’ ɱ‚-h k ɱ ұ, ߱ Real – ‘everyday social reality’- ™L ™ ™ + h ӿ߱ B -ұ ߱ ձ, ™ M h- B ‘real time’ , , ˆ B, ‘ձ’ •real— ձ h ɱ ... “the use of the modifier only draws attention to non-“reality” of clock-time, its non-exclusivity, its insubstantiality, its lack of foundation.” •ˆ 1995— x ձ} ‘S’ ߱ S ™ ձ › h ‘’ / , h ‘ ’ x X-x Diegesis – տ , ɱɱ + ߱ ߷ diegesis- DZ : Ž l ձ߱ S i Ѧš ^n & B : MSNBC.COM- ›߱ ߿ B, ™ h h q T K x x :- • 2003— ‘Shock and awe’ տ q › ɱ` ɱ 48 K ™ : x g ɱ߱ ’› B : ˆ߱ Z, 23 զ ұ ™L ‘ `’ B K U K : -౼ x Diegesis ɱ , ߱ Ž߱ , տ ɷ CNN.COM- X- ’ ߏ 26 ۿ› ߿ ɱ – WAR TRACKER •X x - ſ j — > LATEST HEADLINES •‚-— / WEAPONS > LATEST VIDEO •߱ ^† Disastrous explosion in Bagdad ; Nameless Iraqi victims ; More sights and sounds— U.S. & COALITION FORCES • զay, ɱ Troops return home [ұ߱ ձ] — > ON THE SCENE •Ž Rym Brahimi- › ‘Big catches’ in custody— IRAQI FORCES > տ™L IMPACT MAPS. WAR IN IRAQ / MAN PAGE- # ұ ձ ߿ Hyper link ձ ’ S Heroes of War The New Iraq. •http://www.cnn.com/SPECIALS/2003/iraq/index.html 26-04-03— , # # ߱ ߱ ձ ^n ձ x gaze-S™L › ɱ – ߱ B S߷ News Max.com ߿ › ‘ABC’s Coverage Worst, Foxs best, Analysis Shows’ † ձ߱ Media Research Center- ɱ ۿ X , DZ ’ – ߱ , ™L ſM& h M 24 ۿ› › Z ɼ Fox news g BW ɱ߱ ›™, “Indeed by refusing to embrace the reflexive skepticism of most of the media elite, FNCs audience was not misled by the unwarranted second-guessing and negativism that tainted other networks war news ... Those watched Fox were well-served by the networks” refusal to fall into the standard traps of repeating liberal conventional wisdom.” X gaze’ ߱ ұ , & † / , ձ ›/ {ɼ 25 ۿ› , - ” , ›Ÿ X ›† ‹œ MԐ ™L Personally, I was shocbed while in the United States by show unquestioning the broadcast news media was during this war ... This is particularly so since September 11, when many US netwerks wrapped themselves in the smerican flag • 2003— ձ߱ h , › & ұ ɱɱ, › G› S ұh ߱ ձ B -DZ M, ձ߱ ‘’ g ™, - x X Ž S , ձ Ǽ ձ߱ - 53 Ž ‘’ n 32 Ž ձ汿 ‘’ h 1208% DZ ɱ ұh Ž “ • 2003— ›Ze - ߱ ‘’ ›ɱ – ձ ձ h ձ ߱ – ձ h Uҿ / ‘’ ߱ h ’ DZ gung-ho partriotism- X , c ɱ - ɱ߱ ɱ‹ , - ߱ V X- ɿ ‘’, տ ձ &Q ߿ B ɱ‹ M, &Կ† , ߱ La “There were horrors that were completely left out of this war.” – ɱ‹ ™L - ›S – “We are deeply disappointed and troubled by her remarks ...” •ۿ 2003— ›Ÿ, ߱ ™ x -k S Ž, - X ձ߱ Ǽ X ɱ˥ ߱ , ձ ձ X ұ߱h, ߱ x ձ h M s , Reality Show- › DZ &Q Ž x ‘™’- X ‘’ ұ߿ , տ , ‘™’ › ›™ DZ h ™ ‘™’ ﱼ i ‘Ž’ ^& • — h d , d +, ™, ™ h 汿 ձ š – “However, at the end of this process of virtualization, the inevitable Benthamian conclusion awaits us : reality is its own best semblance.” • 2002— ™ ›Š ߱ ձ ‘›Š’ š ›Š, DZ š ™, ‘re-presented reality’ hyper-real- ſ , ‘™’ ձ , ձ ‘š ™’- Hyper-reality ^- Simulation- DZ ұ : “it has no relation to any reality whatsoever ; it is its own pure simulacrum.” •^— ™ / ߱ ™ c ^ ϩ† , š ‘š’- S ߿ h ‘š ™’- ›S •‹ 2002— ^ M Hyper-real- S ձ, ‘™’- h™L ›X – “Hyper-reality thus describes the extreme limit of fetishization, wherein re-presentation eclipses reality. Here the spectacle continues to fascinate, but indifference is the attitude du jour” •‹ 2002— – x ‘’ ™ ‘’ x , Bi &Կ† ‚ ˆ { ձ, , M -߱ ձ j, ұ ձ (^ g߱ ձ = , , Spectacle. -߿ ‘Virtualization of reality’ • 2002— ‘ ’ ձ߱ ſ š Horror- x ›/ ߿ h ұ , ˝ ߱ Ɀ ‘’ , ɱ ձ – ձ ձ߱ ߱ - , , “derealization of horror” 9“11- T ɱ, ձ߱ }™L, ߱G, ‘real horror’ , ߱, ... -X Ͽ ۿh ۿ-ӿ ‘ ’ ŽS ‘derealization of horror’- ›Ÿ M M DZ , T ˝ X- ձ ˦ ձ߱ ձ ߿ ™ M ‘’ , ձ߱ d տ - Q M La ӿ߱ – La j տ • ™L — ‘’ , G ™™L ձ 13 ۿ› ߿ › ɱ For just a few moments, the U.S. Marine was Michael Jackson king of pop. Taking backwards moon walk steps, Lance-Corporal Manual Perez drew chants of Michael Michael from dozens of children laugh ing on the Bagdad pavement. They want me to do Michael Jackson, they like the way I dance, said Perez, 21, a member of Alpha Company. Ive got fans. • 2003— M, ™ ұ ᱿h ɱ‚- , ձ߱ / h -130 ›Iױ x䱿 B ›K ›La v – ߱ Φ ձ߱ ™ ɱ ձ߱ ձ, ‘ˆ ɱG †˜’- SB, ߱ : ߷ x h X › , / › • — R , K ձ X , i ? զa˦a - ›, – ‘’ † , ? ձ ձ -›, “nothing ends, nothing happens, nothing is forgotten” – q œԿ La œԿ œԿ-ɼ ɱ œԿ X- -X , /, DZ -‚ ɱϼ ‘’- ‘La’- x ›/ ߿ S ɱ ‹ ^ S ұ M “Since they cannot not report and sensationalize the event, the media are enlisted in a symbolic exchange that only amplifies the terrorists power to terrorize ...” •‹ 2002— – La r Œ , M ™L ^ ‘image-event’ •^ 2002— “The role of the images is highly ambiguous. For they capture the event (take it as hostage) at the same time as they glorify it. They can be infinitely multiplied, and at the same time act as a diversion and a neutralization (as happened for the events of May 68) ... The image consumes the event, that is, it absorbs the latter and gives it back as the consumer goods. Certainly the image gives to the event an unprecedented effect, but as an image-event.” , ‘event’ ‘image-event’ M ձ X x , c Կ†߱ ձS P ձ ɱ= = , ™ , - h - S ձ߱ ߿ Ѽ ձ` S鱿 : h- DZ , “I wanted one of the worlds greatest advertising experts, because what are we doing? Were selling. Were selling a product. That product were selling is democracy. Its the free enterprise system, the American value system. Its a product very much in demand.” •{ 2002 € 211-12— ձ߱ La, M ɱ š La ‘ɱ’ , ձ߱ ™Ž տ߱ iœ – - ߱ - , T ™ ›|n -DZ ›|n › X T X- ‘’߱ ɼ ‘’ ‚ -X ձ †˜? M ߿ ˦a ‘›’ ձſ ›ſM M / j ɱ - V U , DZ, 䱿߱ B jɱɱ { ౿ DZ ‘representation’ d ‘reproduction’- , – ‘’ reproduction. jɱɱ B, ‘referent’ ‘record’- ™Lпš Q , ձ ‘representation’- › ’ ‘›’ ‚ š ‘’’ ‘sign’ , ‘š’-S •representation— ձ ‘trace’ – ſ ™ ‘’, ߱ɼ jɱɱ ›/ ɿS – ŽS s ձ – DZ documentary- ﱼ } documentary ‘sign’, c ‘™’- ұh trace ߱, jɱɱ ſM “They are so because they put across strong denotative claims. Diegesis being the soul and style of documents, they must perforce propose a second coming, hold out the promise that signs enclored in them are more or less duplications of traces. To lay access to them means to go for the literal, to opt for repetitions without displacement.” •jɱɱ 2001 € 21— , ߿ B - ߱ c ձ- ‘™’- re-produce տ ձ 汿 ԿM տ , ԿM ձ DZ, ‘տ|’- ұ ɿ , ߱ ձ߱ , - ‘sign-documentary’- ‘trace-like quality’ • ’ jɱɱ € 2001 21— ձ B i ɱ -ɱ‚ , & ™ i†, origin-al ›+ , - ܿ - i ‘Ž’ , ߱“ ɱ y, ɱ-X ‘’ ӿ ߱‡, } ߱ simulation ɱ MW ‘’- ™ { ձ ߿ ɱ ұ DZ The Photographic message • Le message photographique— B ‘image’ ‘text’- ‚ , ’ h -› • textuality- , ձ ‘’’ — - ‘denotation’ Ž B ›- jɱɱ documentary- ‘’ denotative- B Ž M ... “the new informational totality appears to be chiefly founded on an objective (denoted) message in relation to which the text is only a kind of secondary vibration” • 1977 € 25-26— – iœ- M ſ Ž B, d B › La ұhB ߿S – , &Կ† ɱ ɱ g , œԿ q ‘ɱ’ ™ ɱ‚
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