Ideology, imagology, and critical thought: The impoverishment of politics

Simons, Jon

doi:10.1080/135693100112936

Cited by 13 publications

(6 citation statements)

References 9 publications

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“…Hedges hereby follows Neil Postman and others who have emphasized the need for the appropriate usage of language in political discourse, that is, the systematic exposition of political issues and verbal presentation of arguments which are not taken out of context (Postman 90–91, 126–32). Needless to say, this entails a rejection of the overblown idea that visual and narrative representations are as open to critical interpretation as verbal argumentation in political communication (Simons “Ideology, Imagology, and Critical Thought”). In thus prioritizing print‐based culture together with critical reasoning in the form of systematic exposition and verbal argumentation, such a diagnosis reflects intellectual elitism, critics have suggested.…”

Section: Resultsmentioning

confidence: 99%

Celebrity Culture, Performative Politics, and the Spectacle of “Democracy” in America

Elteren¹

2013

J of American Culture

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Section: Resultsmentioning

confidence: 99%

Celebrity Culture, Performative Politics, and the Spectacle of “Democracy” in America

Elteren¹

2013

J of American Culture

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“…The argument, then, is that the films open out and maintain a greater complexity and architecture of the event, reinvigorating and challenging public debate about the fall of the Wall. In following this line of thought, we might usefully think of a new definition of the public sphere, in which visual critical engagements can offer new, different possibilities to that of verbal, rational debate (Simons 2000). DeLuca and Peeples (2002) take the view that as a normative ideal the public sphere holds to unrealistic notions of consensus, openness, dialogue, rationality, and civility (Habermas 1989;Calhoun 1999).…”

Section: New Critical Pictures: Helden Wie Wir and Goodbye Lenin!mentioning

confidence: 98%

“…for providing much greater 'punctuality' and brevity in the analysis of the fall of the Berlin Wall; more so than, for example, in academic or scholarly writing. Indeed, the mode of (re)picturing the pictures of the fall of the Berlin Wall can be understood as discourse indexing its own mode of circulation, which leads out to an important tenet of this article that pictures can be just as critical as words, if not more so (Manghani 2006(Manghani , 2008Simons 2000).…”

Section: Public Screensmentioning

confidence: 99%

Making metapictures political: public screenings of the fall of the Berlin Wall

Manghani

2009

Northern Lights: Film &Amp; Media Studies Yearbook

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The fall of the Berlin Wall was a global media-event. Yet, little critical attention has been given to the images of this event. Two film comedies, Helden Wie Wir/Heroes Like Us (Sebastian Peterson, 1999) and Goodbye Lenin! (Wolfgang Becker, 2002), are examined, which offer potentially novel visual deliberation over this political, media spectacle. It is argued that the concept of the public sphere is eclipsed by what recent commentators term the 'public screen', which accepts the conditions of a mediated public arena for contemporary debate and opinion-making. However, drawing insight from a concept of the 'metapicture', this essay extends the notion of the public screen to that of public screening, with the films under analysis shown to offer layered, loaded narratives that do not simply add to the public screen, but provide a point of concentration whereby a public can 'screen' or 'filter through' multiple aspects of a media event.

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“…8. Critiques of Habermas' approach can be found in Curran (1991); Dahlgren (1991); Simons (2000) and Thompson (1995).…”

Section: Notesmentioning

confidence: 99%

Governing the Public: Technologies of Mediation and Popular Culture

Simons¹

2002

Cultural Values

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Media technologies are an integral and vital element of democratic governance. The political public of representative democratic rÂ egimes are mediated publics, in that they exist and are constituted as publics through the mediation of technologies of mass media. The public sphere of democratic politics is part of, and central to, the mediated sphere of popular culture. There is a structural and necessary relation between the popularization of culture and the democratization of politics. A governmentalist approach understands political media technologies not as aberrations in the light of democratic theory but as the practices of ª actually existingº representative democracy. Genuine popular democracy does not exist, fully formed, in the publics constituted by the media technologies but is most likely to flourish in popular culture and through media technologies.

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Ideology, imagology, and critical thought: The impoverishment of politics

Cited by 13 publications

References 9 publications

Celebrity Culture, Performative Politics, and the Spectacle of “Democracy” in America

Celebrity Culture, Performative Politics, and the Spectacle of “Democracy” in America

Making metapictures political: public screenings of the fall of the Berlin Wall

Governing the Public: Technologies of Mediation and Popular Culture

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