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Millennium Culture

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Opening with the pleasing contention (from Baudrillard) that the year 2000 will not happen, Millennium Culture focuses on the current importance of the visual and virtual experience, exemplified in the sublimely huge but ontologically vacant Millennium Dome. The book examines significant outpourings of contemporary culture - including religion, hypermarkets, the lottery, Teletubbies, technology, wallpaper culture, Jerry Springer, powder skiing and Saint Diana. Photographs by Katja Hock run throughout the book, conjuring up a series of preoccupations that represent a snapshot of contemporary culture. Leach expounds the full implication of The Millennium Dome Experience, and uses the 'circular temple to nothing in particular' as a central image to his discussion of the collapse of reality. But the book is not entirely negative, and seeks to redeem a positive role for the surface image as the site of identification in an increasingly meaningless world.

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Millennium Culture, Neil Leach

Język
Rok wydania
1999
Oprawa
(miękka)
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Tytuł
Millennium Culture
Język
angielski
Autorzy
Neil Leach
Rok wydania
1999
Oprawa
miękka
Liczba stron
128
ISBN10
1841660256
ISBN13
9781841660257
Seria
Ocena
5 z 5
Opis
Opening with the pleasing contention (from Baudrillard) that the year 2000 will not happen, Millennium Culture focuses on the current importance of the visual and virtual experience, exemplified in the sublimely huge but ontologically vacant Millennium Dome. The book examines significant outpourings of contemporary culture - including religion, hypermarkets, the lottery, Teletubbies, technology, wallpaper culture, Jerry Springer, powder skiing and Saint Diana. Photographs by Katja Hock run throughout the book, conjuring up a series of preoccupations that represent a snapshot of contemporary culture. Leach expounds the full implication of The Millennium Dome Experience, and uses the 'circular temple to nothing in particular' as a central image to his discussion of the collapse of reality. But the book is not entirely negative, and seeks to redeem a positive role for the surface image as the site of identification in an increasingly meaningless world.