Postmodern society, characterised by the proliferation of signs and the collapse of time, has turned us into consumerist lemmings with cerebral malaise, shuffling towards our inevitable demise. Utopias all ring hollow, and apocalypse has become banal. Somewhat unsurprisingly, there has been a steady increase in the number of films dealing with the evolution of subjectivity in the media panopticon we have willingly enclosed ourselves in. From within the ubiquitous and omnipresent media-saturated consciousness of the postmodern subject, an increasingly technologically mediated form of subjectivity is being brought forth- the creation of mechanised responses to mechanised stimuli symbolised succinctly in the transformation of policeman Alex Murphy into the cyborg Robocop whose “…blank stares from the video screen parallel our dull gaze into it” (Best 20). Postmodern cinema has recognised this to such an extent that we have seen humanity literally merging with machine in a myriad of cyborg-related scenarios, and more complexly in the wholesale submersion of individuality to television (Videodrome), cyberspace (The Matrix), and computer games (eXistenZ). What does this concern over the mechanisation of humanity reveal about the postmodern subject?
[1:1]There can be little doubt that the mode of consumption in postmodern society is a perfect illustration of Marx’s concept of commodity fetishism, whereby commodities come to appear as if they have a value and existence independent of the people and the social relationships which produce them. The commodity is a “mysterious thing”, a “social hieroglyphic” which conceals the exploitative relationship which characterises capitalism and causes commodities to be fetishised (Marx 71-4). This fetishism is symptomatic of a broader social process of reification, where the structures and relations of society seem independent, immutable, and even natural. The belief in the ‘naturalness’ of the existing social order is manifested in the fatalism and passivity of the proletarian consciousness- the revolution will not happen because we are all at home hoping it will be televised.
More and more aspects of society are becoming commodities- nearly every dimension of popular culture has undergone a process of commodification. Increased commodification leads to increased visualisation- images and symbols become the universal language of commodity production across national boundaries, satellites replicate images endlessly and beam them virtually everywhere. Life has become aestheticised, the boundary between life and art has been effaced.By meshing this concept with our earlier discussion of signification, we arrive in a place where the postmodern mass production of commodities is combined with the obliteration of the original use-values of goods by the dominance of exchange-value inherent to capitalism. This leads to the commodity becoming a sign in the Saussurian sense, with its “…meaning arbitrarily determined by its position in a self-referential system of signifiers” (Featherstone 85). As a result of this, what people buy has very little to do with their intrinsic need for the use value it will yield, and a lot to do with what ‘meanings’ they will collect or portray when consuming. It is the proliferation of signs that has placed us in the society of the spectacle, and even a cursory glance at spectacular consumption lends credence to Baudrillard’s hypothesis that it is a systematic act of the manipulation of signs. Continue reading “Welcome to the Desert of the Real: The Future has Been Sold”