Summary:
In contemporary society, the crisis of modernity has become a common perception. With the acceleration of industrialization, globalization and scientific and technological progress, human society is facing unprecedented challenges and changes. Benjamin and Agamben, as two outstanding thinkers, represent important schools of critical theory and contemporary political philosophy in the early 20th century, respectively, and their reflections and explorations on the crisis of modernity provide valuable intellectual resources for us to understand contemporary society.
I. Introduction
Benjamin is concerned with the impact of capitalist industrial development and war on the survival of the individual, and he reveals the alienation and alienation of modernity through his critique of commodity culture, technological reproduction, and identity. Agamben, on the other hand, focuses on contemporary spectacle society and biopolitics, focusing on the commodification and politicization of the body, as well as the control and discipline of life by the authorities. The two thinkers have different concerns, but both seek to explore the roots of the crisis of modernity and find possible ways to redeem them.
In the extreme presentation of contemporary landscape society, people increasingly feel the pressure of commodification and politicization of the body and self, and the value and dignity of individual existence are facing serious challenges. Therefore, the comparison and dialogue between the ideas of Benjamin and Agamben helps us to deeply understand the nature of the crisis of modernity, to explore how the relationship between the individual and society is reconstructed, and how to seek a way of redemption from the culture of images.
II. The socio-historical context of the crisis of modernity
A. Benjamin's Theory of the Crisis of Modernity
As a German philosopher and cultural critic in the early 20th century, Walter Benjamin was of great significance to the theoretical exploration of the crisis of modernity. He profoundly analyzed the impact of capitalist industrialization, technological reproduction, and media and images on individual survival and social relations, and put forward many profound insights.
First of all, Benjamin is concerned with the impact of modern technology. He pointed out that the rapid development of technology has brought human society into an era of "technological reproduction", which not only changes the material production relations, but also profoundly affects people's lifestyles and social structure. For example, the popularity of mechanical reproduction technology has made it possible to produce works of art and cultural products on a large scale, but at the same time it has led to a loss of originality and uniqueness, exacerbating the homogenization and alienation of society.
Second, Benjamin's critique of commodity culture is also an important part of his theory of the crisis of modernity. He believes that the commodity culture of capitalist society makes everything as an exchangeable commodity, and people's lives are completely permeated by the logic of commodities, losing their self-identity and human dignity. In this case, the individual becomes an object of alienation and exploitation, rather than a subject of autonomous consciousness and action.
B. The Rise and Development of Landscape Society
In the context of the crisis of modernity, the rise of the spectacle society has become a new social phenomenon. Landscape society refers to the social form that takes the landscape as the center and shapes and disciplines the lives of individuals through media, advertising and other forms. The rise of this social form is closely related to the development of technology and media, and it also reflects the all-round penetration and control of individual life by capitalist society.
The rise of the spectacle society has led to an important shift in society, which includes an over-reliance on visuals and images, as well as an addiction to and pursuit of the virtual world. In the spectacle society, individual life is increasingly manipulated by media and advertising, and visual images have become the main means of shaping individual identity and identity, while individuals' perception and experience of the real world are gradually weakened and blurred.
C. The emergence and challenges of biopolitics
With the rise of the landscape society, biopolitical issues have become increasingly prominent. Biopolitics refers to the control and discipline of political power over life and body, which reflects the close relationship between power and life, and also exposes the intervention and restriction of power institutions in individual life. In the context of spectacle society, biopolitical issues are manifested in the commodification, politicization and discipline of the body, and individual life has been unprecedentedly constrained and oppressed.
The emergence of biopolitics poses serious challenges to individual freedom and dignity. In the spectacle society, individual life is increasingly influenced and controlled by commercial interests and political power, and the autonomy and independence of individuals are seriously weakened. For example, the progress of medical technology has made it possible to continue life, but at the same time, it has also made life a commodity, and the survival of the individual is closely linked to the interests of power institutions and capital, and the real freedom and dignity have been lost.
III. Comparison of Benjamin's thoughts with Agamben
A. Benjamin's concern with capitalist industrial development and war
Benjamin's preoccupation with capitalist industrial development and war stems from a deep understanding of the crisis of modernity. He believes that the rapid development of capitalist industrialization has brought human society into an era of technological reproduction, which not only changes the relations of production, but also profoundly affects people's way of life and social structure.
At the same time, Benjamin's focus on war is also based on an analysis of the crisis of modernity, which he sees as an expression of the power of the modern state, one of the means of external expansion and internal control of capitalist society. Benjamin profoundly reveals the impact of capitalist industrial development and war on individual survival and social relations, and how they have exacerbated the depth and breadth of the crisis of modernity.
B. Agamben's concerns about the society of the landscape and biopolitics
Agamben's ideological focus is mainly on two aspects: spectacle, society, and biopolitics. His concern for the spectacle society is reflected in the critique of media, advertising and consumer culture, arguing that the spectacle society has created a false image of life through media and advertising, making individual life more and more controlled by superficial material pursuits, and losing the experience and cognition of real life.
At the same time, Agamben's concern for biopolitics is reflected in the power control of the body and life, and he believes that the discipline and control of individual life and body in modern society have reached the extreme, and individual life has been severely restricted and constrained, and freedom and dignity have been lost.
C. Connections and distinctions between ideas
Although Benjamin and Agamben have different ideological concerns and research objects, there are certain connections and commonalities between the two in some aspects.
First of all, in their analysis of the crisis of modernity, both thinkers reveal the profound impact of factors such as capitalist industrial development, technological reproduction, and media influence on individual existence and social relations, and both provide an in-depth analysis of the alienation and homogenization of modern society.
Second, the two also show a certain resonance in the control and discipline of the power structure over individual life. Benjamin was concerned with the manipulation of individual life by state power and capital interests, while Agamben was more concerned with the discipline and control of individual bodies and lives by the media and advertising, but both believed that individual life was severely constrained and oppressed.
However, there are certain differences between the two thinkers in their attitudes towards the crisis of modernity and the ways to solve it. Benjamin is more pessimistic and hopeless, he believes that the crisis of modernity has penetrated deep into the roots of society, and there is almost no possibility of salvation in individual life; Agamben, on the other hand, is more optimistic and positive, believing that through the critique of spectacle society and biopolitics, it is still possible for individuals to seek the path of self-redemption and rediscover the true meaning and value of life.
IV. Agamben's image seeks salvation
A. The Role and Significance of Image in the Landscape Society
In Agamben's theoretical framework, images play an important role, because the landscape society is essentially a virtual world composed of images. Images are not limited to traditional media such as film and television, but also include various forms created by modern communication technologies such as advertising and social media. In the spectacle society, images have become an important force that dominates individual cognition and behavior, shaping people's desires, values and lifestyles.
First of all, images play a role in shaping "false beauty" in the landscape society. Through well-designed advertising, movies and other image products, the landscape society instills a false ideal of life in individuals, making people constantly pursue material enjoyment and superficial beauty, while ignoring the real needs and emotional experiences of the heart. The careful packaging and editing of the images make the individual constantly confused by external illusions, and it is difficult to see the truth of real life.
Secondly, the image plays the role of "control and discipline" in the landscape society. Through media such as film and television works and advertising, the landscape society not only creates a false image of a beautiful life, but also has a subtle influence on individual behaviors and values. This kind of image control is not only manifested in consumption behavior, but also in the standardization of individual body and lifestyle, which makes individual life strictly restricted and restricted.
B. Image as a tool of expression and critique of biopolitics
In Agamben's view, the spectacle society is not only a representation of the external world, but also a kind of power control over the life and body of the individual. Image plays an important role in this kind of biopolitics, which is not only a tool for the power to manipulate the individual, but also a tool for the individual to resist and criticize the power organization.
First of all, as a tool of expression for biopolitics, images can reveal the falsity and repressiveness of the power institutions and ideologies behind the spectacle society by reflecting the real experience and emotional experience of individual life. For example, some documentaries and independent films show the marginalization and alienation of individuals in the spectacle society through real stories and lenses, triggering the audience's reflection and criticism of the real society.
Secondly, as a critical tool of biopolitics, video can evoke the individual's pursuit and maintenance of freedom and dignity through the exposure and resistance to the spectacle society and power institutions. For example, some artists and film and television professionals have profoundly revealed and criticized the falsehood and oppression in the spectacle society through the creation of critical works, providing important spiritual support and moral encouragement for individuals to seek self-salvation.
C. How the image seeks redemption and reshapes the relationship between the individual and society
Although spectacle society and biopolitics have brought great pressure and distress to individual life, image, as a powerful tool of cultural expression and social resistance, still provides the possibility for individuals to seek salvation and reshape the relationship between individuals and society.
First of all, images can help individuals recognise and understand their own situation through the presentation and revelation of real life, and arouse the desire and pursuit of real life. For example, some documentaries and independent films show the life experiences and emotional experiences of ordinary people through real stories and lenses, allowing the audience to feel the truth and diversity of life, thus inspiring the pursuit and maintenance of freedom and dignity.
Secondly, through the criticism and resistance to spectacle society and biopolitics, images can trigger individuals' reflection and actions on the real society, thereby reshaping the relationship between individuals and society. For example, some critical film and television works and artistic creations evoke the individual's pursuit and maintenance of freedom and dignity through the exposure and resistance of power institutions and ideologies, and provide important spiritual support and moral encouragement for individuals to seek self-salvation.
V. The possibilities and limitations of the search for redemption in the image
A. The potential power and influence of video practice
As a tool of cultural expression and social resistance, video has potential power and influence, which can provide the possibility for individuals to seek redemption and reshape the relationship between individuals and society.
First of all, through the presentation and revelation of real life, images can evoke the individual's pursuit and maintenance of freedom and dignity. When a video work can truly reflect the diversity and complexity of an individual's life, the viewer will empathize with real life, become aware of their own situation, and begin to think about how to change. For example, documentaries and independent films inspire audiences to aspire to freedom and dignity by showing the lived experiences and emotional experiences of ordinary people, prompting them to re-examine their lifestyles and social status.
Secondly, as a critical tool of biopolitics, images can trigger individual reflection and action on the real society. When video works are able to expose the falsity and repression of spectacle society and biopolitics, the viewer will begin to question the legitimacy of power institutions and ideologies, and thus seek change and resistance. For example, some critical film and television works and artistic creations stimulate the audience's desire for social change through the exposure and resistance of power institutions and ideologies, and provide spiritual motivation and moral support for individuals to seek self-salvation.
B. Obstacles and Challenges to Seeking Redemption in Images
However, the search for redemption in the image faces many obstacles and challenges that limit its ability to exert its potential power and impact.
First of all, the production and dissemination of images are controlled and restricted by the authorities and commercial interests. Under the suppression of spectacle society and biopolitics, many video works have been censored and banned, resulting in the impossibility of transmitting the voices of real life. At the same time, driven by commercial interests, the image industry often pursues market benefits and audience tastes, while ignoring the criticism and resistance to the real society, which makes the image lose its power to change society.
Secondly, there are diversity and uncertainties in the interpretation of image as a symbolic language. The audience's understanding and interpretation of video works are affected by individual experience and cultural background, which makes it difficult to unify and determine the meaning and impact of images. In this case, even if the image reveals the falsity and oppression of the real society, it may be interpreted by different audiences as entertainment consumption or ideological propaganda, thus limiting its role in social change.
C. How to deal with the limitations of imagery in search of salvation
In view of the limitations faced by images to seek salvation, a variety of strategies and measures are needed to deal with them.
First of all, it is necessary to strengthen the supervision and regulation of the image industry to ensure the diversity and authenticity of video works. The government and social organizations can strengthen the supervision and management of the video industry through legislation and publicity, prevent it from being influenced by power agencies and commercial interests, and ensure that the voice of real life can be disseminated.
Secondly, it is necessary to improve the audience's media literacy and critical ability, and promote rational thinking and recognition of video works. Schools and social organizations can carry out relevant education and training activities to improve the public's ability to understand and interpret video works, and guide them to objectively recognize and evaluate video works, so as to play a positive role in social change.
VI. Conclusion
The rise of spectacle society and biopolitics highlights the profundity and complexity of the crisis of modernity. In the spectacle society, the individual is shrouded in consumerism and virtual reality, and loses the meaning and direction of real life; The repression of biopolitics has seriously violated the freedom and dignity of individuals, making it difficult to achieve true salvation. Therefore, we need to reflect on the development path and institutional design of modern society, and reshape the relationship between man and nature, and between individuals and society, so as to achieve more harmonious and sustainable development.
Author: Lu Xilin
Bibliography:
Foucault, Michel. The Birth of Biopolitics: Lectures at the Collège de France, 1978–1979. Palgrave Macmillan, 2008.
Hall, Stuart. Representation: Cultural Representations and Signifying Practices. Sage Publications Ltd, 1997.
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