Simply put, it states that modernity, in its quest for ethically ordered, rationally constructed, technologically oriented, seemingly progressive, and relentlessly unifying social order, has failed. Baudrillard, J (l990) Fatal Strategies, New York: Semiotexte. FIGURE 1 GREIMASIAN SEMIOTIC SQUARE OF MODERNISM AND POSTMODERNISM The philosophical basis of the visual can be traced to Cartesian perspectivalism which according to Jay is the essence of the occularcentric culture which characterizes the society of spectacle. In this way, according to Jameson, the nostalgia film either recaptures and represents the atmosphere and stylistic features of the past and/or recaptures and represents certain styles of viewing of the past. Benjamin, W. (l969), "The Work of Art in the Age of Mechanical Reproduction," in Illuminations,trans. Using a more technical language, we might say that the individual seems to be moving from a cognitive world (modernism) to a semiotic world (postmodernism)--the world of knowledge acquisition and production to a world of symbol and sign manipulation. Thus, human life is considered in terms of here and now, and there is little reference to life after we leave this planet, as was the case in the premodernist period. Consumer Culture and Postmodernism is a collection of papers published between 1983-90 looking at the intimate relationship between culture and postmodernism. Recently, the debate has entered the social sciences, and in particular into cultural and social anthropology, sociology, political theory and social theory. I will consider here two prime examples: pop music and television. We shall now briefly discuss some emerging themes in the modernism/postmodernism debate. theinfluentialroleinourlivesconsumerismdoes. But the nostalgia film is not just another name for the historical film. They attempt to investigate the post modern not Postmodern Consumerism and the Construction of Self . The global shift to industrialization and the easing of economic restrictions in command economies, coupled with the move toward individual growth and privatization, constitute a signal that what is modern is desirable and what is desirable must be attained. Modernism, while incorporating uniqueness, produces fragmentation, while emphasizing real produces the imaginary and the hyperreal, while stressing representational fidelity in art and science produces illusions by a clever application of technologies, and while exalting the bourgeois subject into a privileged position alienates him/her and then fragments him/her. Bouchet, D (l988), Fra Skrift til billed Kultur (From a Written to Picture Culture," in H.Hertel and K.Fromberg (eds), Bogens fremtid er ikke, hvad den har Vaert, Fremad, Copenhagen. Yet, once we focus on actual experiences and practices, it is clear that there are similarities between these alleged postmodern experiences and practices and many of those designated as modern and even premodern. John Fiske claims in Media Matters (1994) that postmodern media no longer provide ‘secondary representations of reality; they affect and produce the reality that they mediate’. Therefore, in order to be part of the news of O. J. Simpson’s arrest, it was not enough to be there, one had to be there on television. Representation has also come to mean the construction of the real as conceived by human cognition without reference to objective reality. The Ruthless Rap Assassins, for example, are black and working class: three street intellectuals articulating their politics with ‘a funky North Hulme beat’. These new additions are quite strong and make the book updated for current debates. Far from it. Featherstone (l988) lists several fields where this debate has been raging for some years in the Western world: art (including music), fiction, film, and photography, architecture, philosophy and literary criticism. Instead of seeing the audience as an homogeneous mass, the series was part of a strategy in which the audience is seen as fragmented, consisting of different segments – stratified by age, class, gender, geography and race – of interest to different advertisers.
2020 postmodern consumer culture