In reading the excerpt entitled ‘Portrait of Power’, of John S. Turner’s, ‘Collapsing the Interior/Exterior Distinction: Surveillance, Spectacle, and Suspense in Popular Cinema’ turner identifies the spectacle as a way to reduce the world and its inhabitants to something less than they, he states “less real, less sustainable, less human”. Turner uses cinema as an example for this, expressing it as a medium that places itself immediate distance from the real world. Turner believes film allows for one to view through “a technological window while at the same time attempting to make us feel comfortable with this distanced view of the world.”
This treatment of the spectacle removes one from what is real as we become increasingly comfortable and accepting what the spectacle has to offer. Turner quotes Debord and describes the spectacle as “a new kind of power of recuperation and absorption, a capacity to neutralize and assimilate acts of resistance by converting them into objects or images of consumption.” He describes the ways in which practices of surveillance have been converted into what are now seen as the highly dramatic and enticing cinema of today’s society, and “images that border on the fetishization of such technologies and practices, popular cinema effectively frames an uncritical celebration of panopticism”
Turner, J, S, T, 1998. Collapsing the Interior/Exterior Distinction: Surveillance, Spectacle, and Suspense in Popular Cinema. Wide Angle, Volume 20, 4.
Science Fictional. 2013. Portait of Power . Website. Available at: http://sciencefictional.net/page/3/. (Accessed 24 June 13).