In Society of the Spectacle Guy Deb

In Society of the Spectacle Guy Debord (1931/1994) suggests that in
societies where modern conditions of production prevail, through the
autocratic reign of the market economy, spectacle is more than a collection
of images, it is social relations among people, mediated by images. The
fact that contemporary ‘reality’ programming represents an ahistorical and
spectacular approach to social life does not mean that class is not present
190 Helen Wood and Bev Skeggs
but it is precisely because class has ideologically shifted on to questions of
moral visibility and individuality in political culture that makes it so easy
to see. By denigrating the traditions of emotion and sensation8 generated
through melodrama on ‘reality’ television some critics have failed to register
precisely the mechanisms by which class is being remade in the present.
This is not to say that class is not made by other factors (economic, for
instance) and across other sites (in political rhetoric and policy, as we
have seen), rather ‘reality’ television is one of the sites where its making
is made spectacular, reduced to psychologisation and shown to be loaded
with moral value.
In a neoliberal society where a person’s social worth is demonstrated by
the capacity to self-manage, ‘reality’ television puts people in situations in
which they can be only out of control, making them appear as completely
incapable and inadequate; but rather than locating the forces that put
them out of control as social, coping becomes instead a test of a person’s
individual capacity, and is marked on the body, dispositions, the house,
the speech, the faeces, etc., through metonymic morality, where each
part carries the value of the whole. Responsibility converts each mistake
into a fault, which is the philosophical principle for attributing liability.
If Williams (2001) is correct to suggest that melodrama carries a nation’s
moral values more generally, we suggest that ‘reality’ television is one of the
most visible present political forms of generating inequalities in the moral
economy of personhood.

Hasil (Bahasa Indonesia) 1:

Dalam masyarakat tontonan Guy Debord (1931 tahun 1994) menunjukkan bahwa dalammasyarakat dimana kondisi modern produksi berlaku, melaluipemerintahan otokratis ekonomi pasar, tontonan adalah lebih dari sebuah koleksiGambar, itu adalah hubungan sosial antara orang-orang, dimediasi oleh gambar. Thekenyataan bahwa pemrograman kontemporer 'realitas' mewakili ahistoris danspektakuler pendekatan untuk kehidupan sosial tidak berarti kelas tidak hadir190 Helen kayu dan Bev Skeggstapi justru karena kelas ideologis telah bergeser ke pertanyaanvisibilitas moral dan individualitas dalam budaya politik yang membuatnya begitu mudahuntuk melihat. Oleh merendahkan tradisi emosi dan sensation8 dihasilkanmelalui melodrama di 'realitas' televisi beberapa kritikus telah gagal untuk mendaftarjustru mekanisme yang kelas yang sedang dibuat ulang di masa kini.Hal ini bukan untuk mengatakan bahwa kelas tidak dibuat oleh faktor-faktor lain (ekonomi, untukcontoh) dan di situs lain (dalam retorika politik dan kebijakan, seperti yang kitatelah melihat), agak 'realitas' televisi adalah salah satu situs mana yang membuatdibuat spektakuler, dikurangi menjadi psychologisation dan terbukti dimuatdengan nilai moral.Dalam masyarakat neoliberal mana seseorang 's sosial senilai ditunjukkan olehkemampuan untuk mengelola sendiri, 'realitas' televisi menempatkan orang dalam situasi diyang mereka dapat hanya lepas kendali, membuat mereka tampak seperti benar-benartidak mampu dan tidak memadai; tapi bukan menemukan kekuatan yang menempatkanthem out of control as social, coping becomes instead a test of a person’sindividual capacity, and is marked on the body, dispositions, the house,the speech, the faeces, etc., through metonymic morality, where eachpart carries the value of the whole. Responsibility converts each mistakeinto a fault, which is the philosophical principle for attributing liability.If Williams (2001) is correct to suggest that melodrama carries a nation’smoral values more generally, we suggest that ‘reality’ television is one of themost visible present political forms of generating inequalities in the moraleconomy of personhood.