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328:: 2005) Current academic theories of spectacle "highlight how the productive forces of marketing, often associated with media and Internet proliferation, create symbolic forms of practice that are emblematic of everyday situations."
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era. Such masques, as their name implies, relied heavily upon a non-verbal theater. The character lists for masques would be quite small, in keeping with the ability of a small family of patrons to act, but the
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technology first appeared, the earliest films were spectacles. They caught the attention of common people. They showed things people would rarely see, and they showed it to the wide audience.
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as "the autocratic reign of the market economy which had acceded to an irresponsible sovereignty, and the totality of new techniques of government which accompanied this reign."
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has been appropriated to describe appearances that are purported to be simultaneously enticing, deceptive, distracting and superficial. (
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Thompson, Alex; Stringfellow, Lindsay; Maclean, Mairi; MacLaren, Andrew; O’Gorman, Kevin (2015-03-24).
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structure is purported to create play-like celebrations of its products and leisure time consumption.
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refers to an event that is memorable for the appearance it creates. Derived in
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and theatrical effects would be lavish. Reading the text of masques, such as
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from c. 1340 as "specially prepared or arranged display" it was borrowed from
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Spectacle can also refer to a society that critics describe as dominated by
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is perhaps the best-known example of this critical analysis; see his
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For the notion of the spectacle in critical theory, see
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and masques of the nobility were most popular in the
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