During the Gulf war, CNN correspondent Peter Arnett distinguished himself with its courageous reporting in Iraq while under fire by the U.S.-led coalition which dropped more bombs on Iraq than were unleashed in World War II. Reporting live from Baghdad throughout the war, Arnett provided vivid daily accounts of life in Iraq during one of the most sustained air attacks in history. From his live telephone reporting of the early hours of the U.S. attack on Iraq in January 1991 through (...) his live satellite reports of the effects of the daily bombing of Iraq, Arnett distinguished himself through his attempts to cut through the lies and disinformation of both sides and to provide accurate reporting on the effects of the U.S.-led coalition assault against Iraq. (shrink)

A coletânea de artigos de Herbert Marcuse comemora em 2007 o lançamento de mais um volume: Art and Liberation. Originada de uma série de visitas empreendidas, a partir de 1989, por Douglas Kellner aos Arquivos Marcuse em Frankfurt, esta coletânea de artigos prevê o lançamento de seis volumes, cada um dos quais dedicado ao tratamento de um tema específico. Único impresso no Brasil, o primeiro engloba alguns textos escritos em colaboração com o governo norte-americano, e discute a relação (...) entre a tecnologia, a guerra e o fascismo (MARCUSE, 1999). (shrink)

The role of art in Marcuse’s work has often been neglected, misinterpreted or underplayed. His critics accused him of a religion of art and aesthetics that leads to an escape from politics and society. Yet, as this volume demonstrates, Marcuse analyzes culture and art in the context of how it produces forces of domination and resistance in society, and his writings on culture and art generate the possibility of liberation and radical social transformation. The material in this volume is a (...) rich collection of many of Marcuse’s published and unpublished writings, interviews and talks, including ‘Lyric Poetry after Auschwitz’, reflections on Proust, and Letters on Surrealism; a poem by Samuel Beckett for Marcuse’s eightieth birthday with exchange of letters; and many articles that explore the role of art in society and how it provides possibilities for liberation. This volume will be of interest to those new to Marcuse, generally acknowledged as a major figure in the intellectual and social milieus of the 1960s and 1970s, as well as to the specialist, giving access to a wealth of material from the Marcuse Archive in Frankfurt and his private collection in San Diego, some of it published here in English for the first time. A comprehensive introduction by Douglas Kellner reflects on the genesis, development, and tensions within Marcuse’s aesthetic, while an afterword by Gerhard Schweppenhäuser summarizes their relevance for the contemporary era. (shrink)

French theorist Jean Baudrillard is one of the foremost contemporary critics of society and culture who is often seen as the guru of French postmodern theory. A prolific author who has written over twenty books, reflections on art and aesthetics are an important, if not central, aspect of his work. Although his writings exhibit many twists, turns, and surprising developments as he moved from synthesizing Marxism and semiotics to a prototypical postmodern theory, interest in art remains a constant of his (...) theoretical investigations and literary experiments. (shrink)

Edited by Douglas Kellner and Clayton Pierce, _Philosophy, Psychoanalysis and Emancipation _is the fifth volume of Herbert Marcuse's collected papers. Containing some of Marcuse’s most important work, this book presents for the first time his unique syntheses of philosophy, psychoanalysis, and critical social theory, directed toward human emancipation and social transformation. Within philosophy, Marcuse engaged with disparate and often conflicting philosophical perspectives - ranging from Heidegger and phenomenology, to Hegel, Marx, and Freud - to create unique philosophical insights, (...) often overlooked in favor of his theoretical and political interventions with the New Left, the subject of previous volumes. This collection assembles significant, and in some cases unknown texts from the Herbert Marcuse archives in Frankfurt, including: critiques of positivism and idealism, Dewey’s pragmatism, and the tradition of German philosophy philosophical essays from the 1930s and 1940s that attempt to reconstruct philosophy on a materialist base Marcuse’s unique attempts to bring together Freud and philosophy philosophical reflections on death, human aggression, war, and peace Marcuse’s later critical philosophical perspectives on science, technology, society, religion, and ecology. A comprehensive introduction by Douglas Kellner, Tyson Lewis and Clayton Pierce places Marcuse’s work in the context of his engagement with the main currents of twentieth century politics and philosophy. An Afterword by Andrew Feenberg provides a personal memory of Marcuse as scholar, teacher and activist, and summarizes the lasting relevance of his radical thought. (shrink)

Kellner writes, "As we move into the 1990s critical theory might help produce theoretical and political perspectives which could be part of a Left Turn that could reanimate the political hopes of the 1960s, while helping overcome and reverse the losses and regression of the 1980s.".

This second volume of Marcuse's collected papers includes unpublished manuscripts from the late 1960s and early 1970s, such as _Beyond One-Dimensional Man_, _Cultural Revolution_ and _The Historical Fate of Bourgeois Democracy_, as well as a rich collection of letters. It shows Marcuse at his most radical, focusing on his critical theory of contemporary society, his analyses of technology, capitalism, the fate of the individual, and prospects for social change in contemporary society.

Over the past decade, Zygmunt Bauman has published a series of books that sketch out a postmodern turn in society, theory, culture, ethics and politics. Changes in contemporary society and culture, Bauman argues, require new modes of thought, morality and politics to appropriately respond to the new social conditions. This requires a reconfiguration of critical social theory and new tasks for a postmodern sociology. Bauman thus poses fundamental challenges to contemporary social theory and provides an original and provocative post-modern version (...) of the sociological imagination, developing sketches of the fundamental social and cultural changes of our time, and the ways that theory and politics must be changed to creatively map and democratically respond to these questions. Bauman's critical reflections on modern theory and society, and his postmodern turn, require serious critical responses to his challenges to conventional wisdom and practice. In my study, I sketch out what I consider to be important in Bauman's recent work, what I see as problematical, and how Bauman's project — that is also my own — might be advanced. While my focus might appear to be predominantly critical, I attempt to generate a constructive dialogue with his thought that will advance our mutual interests and perhaps help illuminate some interesting contemporary topics and debates. (shrink)

In an analysis of the September 11 terror attacks on the US, I want first to suggest how certain dominant social theories were put in question during the momentous and world-shaking events of fall 2001. I take up the claim that `everything has changed' in the wake of September 11 and attempt to indicate both changes and continuities to avoid one-sided exaggerations and ideological simplicities. I conclude with reflections on the implications of September 11 and the subsequent Afghanistan Terror War (...) for critical social theory and democratic politics, envisaging a new global movement against terrorism and militarism and for democracy, peace, environmentalism and social justice. (shrink)

Radio, television, film, and the other products of media culture provide materials out of which we forge our very identities; our sense of selfhood; our notion of what it means to be male or female; our sense of class, of ethnicity and race, of nationality, of sexuality; and of "us" and "them." Media images help shape our view of the world and our deepest values: what we consider good or bad, positive or negative, moral or evil. Media stories provide the (...) symbols, myths, and resources through which we constitute a common culture and through the appropriation of which we insert ourselves into this culture. Media spectacles demonstrate who has power and who is powerless, who is allowed to exercise force and violence, and who is not. They dramatize and legitimate the power of the forces that be and show the powerless that they must stay in their places or be oppressed. (shrink)

_The New Left and the 1960s _is the third volume of Herbert Marcuse's collected papers. In 1964, Marcuse published a major study of advanced industrial society, _One Dimensional Man_, which was an important influence on the young radicals who formed the New Left. Marcuse embodied many of the defining political impulses of the New Left in his thought and politics - hence a younger generation of political activists looked up to him for theoretical and political guidance. The material collected in (...) this volume provides a rich and deep grasp of the era and the role of Marcuse in the theoretical and political dramas of the day. This volume contains articles, letters, talks, and interviews including: "On the New Left," a transcription of the 1968 talk at the Guardian newspaper's twentieth anniversary; "Reflections on the French Revolution," which contains comments on the 1968 French student and worker uprising; "Liberation from the Affluent Society," which presents Marcuse's contribution to the 1967 Dialectics of Liberations conference; and "United States: Questions of Organization and the Revolutionary Subject," a conversation between Marcuse and the German writer Hans Magnus Enzenberger, published here in English for the first time. Edited by Douglas Kellner, this volume will be of interest to all those previously unfamiliar with Herbert Marcuse, generally acknowledged as a major figure in the intellectual and social mileux of the 1960s and 1970s, as well as to specialists, who will here have access to papers and articles collected in one volume for the first time. (shrink)

John Hartley opens his short history of cultural studies by evoking a sense of the contested nature of the field in the contemporary moment and the intense debates about its objects, scope, methods, and goals: “Even within intellectual communities and academic institutions, there is little agreement about what counts as cultural studies, either as a critical practice or an institutional apparatus. On the contrary, the field is riven by fundamental disagreements about what cultural studies is for, in whose interests it (...) is done, what theories, methods and objects of study are proper to it, and where to set its limits” (1). (shrink)

During the past decades, the culture industries have multiplied media spectacles in novel spaces and sites, and spectacle itself is becoming one of the organizing principles of the economy, polity, society, and everyday life. An Internet-based economy has been developing hi-tech spectacle as a means of promotion, reproduction, and the circulation and selling of commodities, using multimedia and increasingly sophisticated technology to dazzle consumers. M edia culture proliferates ever more technologically sophisticated spectacles to seize audiences and augment their power and (...) profit. The forms of entertainment permeate news and information, and a tablodized infotainment culture is more and more popular. New multimedia that synthesize forms of radio, film, TV news and entertainment, and the mushrooming domain of cyberspace, become spectacles of technoculture, generating expanding sites of information and entertainment, while intensifying the spectacle-form of media culture. Political and social life is also shaped more and more by media spectacle. Social and political conflicts are increasingly played out on the screens of media culture, which display spectacles like sensational murder cases, terrorist bombings, celebrity and political sex scandals, and the explosive violence of everyday life. M edia culture not only takes up expanding moments of contemporary experience, but also provides ever more material for fantasy, dreaming, modeling thought and behavior, and constructing identities. Of course, there have been spectacles since premodern times. Classical Greece had its Olympics, thespian and poetry festivals, its public rhetorical battles, and bloody and violent wars. Ancient Rome had its public offerings of bread and circuses, its orgies, its titanic political battles, and the spectacle of Empire with parades and monuments for triumphant Caesars and their armies, extravaganzas put on display in the 2000 film Gladiator.. (shrink)

It is surely not difficult to see that our time is a time of birth and transition to a new period. The spirit has broken with what was hitherto the world of its existence and imagination and is about to submerge all this in the past; it is at work giving itself a new form. To be sure, the spirit is never at rest but always engaged in ever progressing motion.... the spirit that educates itself matures slowly and quietly toward (...) the new form, dissolving one particle of the edifice of its previous world after the other,.... This gradual crumbling... is interrupted by the break of day that, like lightning, all at once reveals the edifice of the new world. Hegel, The Phenomenology of Spirit, 1807.. (shrink)

This book provides a critical overview of the entirety of Marcuse's work and discusses his enduring importance. Kellner had extensive interviews with Marcuse and provides hitherto unknown information about his road to Marxism, his relations with Heidegger and Existentialism, his involvement with the Frankfurt School, and his reasons for appropriating Freud in the 1950s. In addition Kellner provides a novel interpretation of the genesis and structure of Marcuse's theory of one-dimensional society, of the development of his political theory, (...) and of the role of aesthetics in his critical theory. (shrink)

While T.W. Adorno is a lively figure on the contemporary cultural scene, his thought in many ways cuts across the grain of emerging postmodern orthodoxies. Although Adorno anticipated many post-structuralist critiques of the subject, philosophy, and intellectual practice, his work clashes with the postmodern celebration of media culture, attacks on modernism as obsolete and elitist, and the more affirmative attitude toward contemporary culture and society found in many, but not all, postmodern circles. Adorno is thus a highly contradictory figure in (...) the present constellation, anticipating some advanced tendencies of contemporary thought, while standing firming against other regnant intellectual attitudes and positions. (shrink)

In theorizing the postmodern, one inevitably encounters the postmodern assault on theory, such as Lyotard's and Foucault's attack on modern theory for its alleged totalizing and essentializing character. The argument is ironic, of course, since it falsely homogenizes a heterogeneous "modern tradition" and since postmodern theorists like Foucault and Baudrillard are often as totalizing as any modern thinker (Kellner 1989 and Best 1995). But where Lyotard seeks justification of theory within localized language games, arguing that no universal criteria are (...) possible to ground objective truths or universal values, Foucault steadfastly resists any efforts, local or otherwise, to validate normative concepts and theoretical perspectives. For Foucault, justification ensnares one in metaphysical illusions like "truth" and the only concern of the philosopher-critic is to dismantle old ways of thinking, to attack existing traditions and institutions, and to open up new horizons of experience for greater individual freedom. What matters, then, is results, and if actions bring greater freedom, the theoretical perspectives informing them are "justified." From this perspective, theoretical discourse is seen not so much as "correct" or true," but as "efficacious," as producing positive effects. (shrink)

The 1991 war against Iraq was one of the first televised events of the global village in which the entire world watched a military spectacle unfold via global TV satellite networks.1 In retrospect, the Bush administration and the Pentagon carried out one of the most successful public relations campaigns in the history of modern politics in its use of the media to mobilize support for the war. The mainstream media in the United States and elsewhere tended to be a compliant (...) vehicle for the government strategy to manipulate the public, imperiling democracy which requires informed citizens, checks and balances against excessive government power, and a free and vigorous critical media (see Kellner 1990 and 1992). Indeed, if the media do not adequately inform citizens, provide a check against excessive government power and corruption, and adequately debate the key issues of the day, democracy is undermined. M oreover, the U.S. media, especially CNN, completely dominated global coverage of the event. CNN had cameras and reporters in Baghdad throughout the war, a large crew in Israel, and live coverage of all U.S. military and government press conferences. Thus its images, discourses, and material tended to shape global coverage of the event. This meant that the Bush administration and Pentagon was able to control the flow of images and discourses and thus to manage the TV spectacle of the Gulf War.2 In this chapter, I first discuss the production of the text of the "crisis in the Gulf" and then "the Gulf war." This will involve analysis of disinformation and propaganda campaigns by the Bush administration, the Pentagon, and their allies, as well as dissection of the constraints produced by the so-called pool system. I also indicate how the political economy of the media in the United States facilitated the manufacturing of consent for U.S. government policies. Then I analyze the meanings embedded in the text of the war against Iraq and the reception of the text/event by the audience.. (shrink)

We are in the midst of one of the most dramatic technological revolutions in history that is changing everything from the ways that we work, to the ways that we communicate with each other, to how we spend our leisure time. The technological revolution centers on information technology, is often interpreted as the beginnings of a knowledge society, and therefore ascribes education a central role in every aspect of life. This Great Transformation poses tremendous challenges to education to rethink its (...) basic tenets, to deploy the new technologies in creative and productive ways, and to restructure schooling in the light of the metamorphosis we are now undergoing. (shrink)

The “Frankfurt School” refers to a group of German-American theorists who developed powerful analyses of the changes in Western capitalist societies that occurred since the classical theory of Marx. Working at the Institut fur Sozialforschung in Frankfurt, Germany in the late 1920s and early 1930s, theorists such as Max Horkheimer, T.W. Adorno, Herbert Marcuse, Leo Lowenthal, and Erich Fromm produced some of the first accounts within critical social theory of the importance of mass culture and communication in social reproduction and (...) domination. The Frankfurt School also generated one of the first models of a critical cultural studies that analyzes the processes of cultural production and political economy, the politics of cultural texts, and audience reception and use of cultural artifacts (Kellner 1989 and 1995). (shrink)

Marcuse’s Challenge to Education, a collection of essays by scholars who have explicated his theories accompanied by unpublished lecture notes by Marcuse himself, examines his ground-breaking critique of education as well as his own pedagogical alternatives. This compilation provides an overview of the various themes of Marcuse's challenges to traditional education and connections with ideas of other radical thinkers ranging from Bloch and Freire to Freud and Lacan.

An introduction to and critique of the latest trends in critical theory.

For some decades now, British cultural studies has tended to either disregard or caricature in a hostile manner the critique of mass culture developed by the Frankfurt school. [1] The Frankfurt school has been repeatedly stigmatized as elitist and reductionist, or simply ignored in discussion of the methods and enterprise of cultural studies. This is an unfortunate oversight as I will argue that despite some significant differences in method and approach, there are also many shared positions that make dialogue between (...) the traditions productive. Likewise, articulation of the differences and divergences of the two traditions could be fruitful since, as I will argue, both traditions to some extent overcome the weaknesses and limitations of the other. Consequently, articulation of their positions could produce new perspectives that might contribute to developing a more robust cultural studies. Thus, I will argue that rather than being antithetical, the Frankfurt school and British cultural studies approaches complement each other and can be articulated in new configurations. (shrink)

The translation of Pierre Klossowski's Nietzsche and the Vicious Circle finally provides an English-speaking audience with access to one of the most influential texts in the French Nietzsche tradition. First published in France in 1969, Klossowski's text consummated over three decades of intense work and discussion on Nietzsche's most enigmatic and original ideas. Working with Bataille and the famous College de Sociologie, Klossowski published a series of important studies of Nietzsche culminating in Nietzsche and the Vicious Circle which Foucault described (...) in a letter to Klossowski as "the greatest book of philosophy I have read" in addition to Nietzsche himself. Deeply influencing Deleuze, Lyotard, and other major Nietzscheans, Klossowski's work remains a seminal text of the contemporary French reading of Nietzsche. (shrink)

Moreover, presidential politics -- on the level of campaigns and governing -- have also exhibited a growing politics of image and spectacle. In our media-saturated society, politicians become celebrities who fine-tune their image through daily photo ops, spin out their message of the day and, like celebrities, employ image management firms to make sure their performance is playing well with the public.

Since the 9/11 terrorist attacks and subsequent Terror War, Jean Baudrillard has written a series of reflections on the contemporary moment that have evoked the excitement and controversy of his earlier work. For many years, Baudrillard had complained that the contemporary era has been one of “weak events,” that the energies of history seemed to be depleted, and that politics has become increasingly banal and boring. He claimed in an essay "Anorexic Ruins," published in 1989, that the Berlin wall was (...) a sign of a frozen history, of an anorexic history, in which nothing more can happen, marked by a "lack of events" and the end of history, taking the Berlin wall as a sign of a stasis between communism and capitalism. Likewise, at one time, Baudrillard read the New York Twin Towers of the World Trade Center as symbols of the stasis of global capitalism and a frozen history in which the two superpowers develop a system of binary regulation. (shrink)

There is nothing I want more than to become enlightened about the whole highly complicated system of antagonisms that constitute the 'modern world' (Nietzsche).

It is with great pleasure that I remember my visit to the University of Alberta in Fall 1995, and I would like especially to thank Eric Higgs, Andrew Light, and Ray Morrow for making my visit an especially memorable one. During my visit, we participated in a series of seminars on postmodern theory, critical theory, media culture, cultural studies, and the philosophy of technology and not surprisingly these themes were the focus of the symposium of my book Media Culture, which (...) we are now committing to print. Accordingly, I shall respond to each of the three commentators, focusing on the themes which they highlighted. This will enable me to clarify my positions on media culture, the philosophy of technology, and the Internet (Higgs); social theory, media culture, and cultural studies (Morrow); and media culture, identity, and identity politics (Light). The interconnection of these issues in Media Culture and my work in general points, I would argue, for the need to develop transdisciplinary theories to confront the issues, problems, and challenges of the contemporary moment as we negotiate the troubled terrain between the modern and the postmodern. (shrink)

New theories about the radical break with the traditions of modernism in literature, architecture, cinema, mass media, and consumer culture began emerging in the late 70s from writers as diverse as Baudrillard, Lyotard, Kroker, Jencks, and importantly Fredric Jameson who leads the effort to bring Marxist cultural critique forward into the postmodernism debate. This volume appraises Jameson's work and Marxism as a conceptual framework for theorizing postmodernism.

Sergi Eisenstein's Potemkin provides a powerful example of how a film can present a revolutionary and socialist political perspective and ideology. A thoroughly modernist film, Potemkin is highly innovative in form and is often taken as a model of editing; it has regularly appeared on many lists of the greatest films of all time and since its release in 1925 has been a major critical success. Formally, the film embodies Eisenstein’s theory of montage, that the juxtaposition of images can generate (...) meanings and on the level of ideology, the film serves as effective propaganda for the Bolsheviks. (shrink)

Baudrillard, Jean (1929) was born in the cathedral town of Reims, France. His grandparents were peasants, his parents became civil servants, and he was the first member of his family to pursue an advanced education. In 1956, he began working as a professor of secondary education in a French high school (Lyceé) and in the early 1960s did editorial work for the French publisher Seuil. Trained as a Germanist, Baudrillard translated Germany literary works including Brecht and Peter Weiss, although he (...) turned to the study of sociology and for some decades was a sociology professor at Nanterre. (shrink)