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Hyperreality and Global Culture (Routledge Social Futures by Nicholas Perry

By Nicholas Perry

This e-book explores an international the place the limits among truth and illustration became blurred, an international the place l. a. legislations is used to coach attorneys. Drawing on examples from worldwide, Nick Perry offers a desirable and enjoyable research of either widely used gadgets and events in addition to the more odd and absurd. nutrients served in British pubs, motor-cycle gangs in downtown Tokyo, Australian videos, are only a few examples utilized by the writer in his attractive exploration of recent experience of the 'unreal'. Hyperrealities additionally engages with renowned theorists of up to date tradition, from Baudrillard and Umberto Eco to Jameson and Sartre.

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The Singing Detective’s refusal of a visually and musically accomplished integration (pace Flashdance) is consistent with the British pattern of prioritizing the literary. There is a routine interrogation or disruption of any presumption as to the veracity of the text’s visual images. The consoling and inte-grating force of popular songs (of the 1940s) is nostalgically accorded full recognition and subverted. Doctors suddenly become participants in a lavish musical entertainment, a nurse suddenly becomes a night-club singer, pyjama-clad hospital patients watch as a body is recovered from the river, an elderly candidate for a heart attack begins to sing like Bing Crosby.

In the associated struggles for audiences what is incidentally at stake are the forms which notions of cultural centrality might take. The success of Miami Vice suggests just how far the terms of such engagements has become weighted towards the image rather than the word. Consider, for example, LA Law, which as its title suggests, could be seen as not just the other side of the country to Miami Vice but as the other to the codes (both moral and semiotic) which informed the latter. It was a series produced by the team responsible for Hill Street Blues and although it embodied some of Hill Street’s virtues, it altogether lacked the visual texture of that earlier series.

The film is thus able to allow for both the improbability of such belief and the necessity for it. For what defines and sustains them is just such a combination of bricoleur tactics and vision as that which defines and sustains the film itself, what Nick Roddick (1989:xi) refers to as those ‘elements of sharpness and strangeness, of intense practicality (see, for instance, the scene in which the spike is cast) and intense peculiarity, like the horse in the boat’. The bricoleur and the visionary also meet in that combination of qualities evoked by the film’s title.

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