Editor King (film and television studies, Brunel U., UK) finds spectacle and notions of the authentic (or the real) conjoined in many aspects of the contemporary media landscape including reality TV shows, sporting events, computer generated animation, video games, and perhaps most clearly in the coverage of the destruction of the World Trade Center in September of 2001. It is to that last spectacle that the first five of these 18 interdisciplinary papers are more or less related, analyzing aspects of spectacle, ideology, and catastrophe. A second section focuses on reality television and the creation of authenticity in the context of such shows as Big Brother, medical operations on television, professional wrestling, and other topics. A final group of contributions look at film, considering such topics as the aesthetic of The Blair Witch Project, the presentation of real sexual activity in recent European cinema, and the connections between the spectacle and the spectre in the capitalist horror movie. Distributed in the US by ISBS. Annotation ©2004 Book News, Inc., Portland, OR (booknews.com)
Hollywood special effects offer spectacular creations or re-creations that make claims to our attention on the grounds of their ‘incredible-seeming reality’. They can appear both ‘incredible’ and ‘real’, their appeal based on their ability to ‘convince’—to appear real in terms such as detail and texture—and on their status as fabricated spectacle, to be admired as such. At a seemingly very different end of the audio-visual media spectrum, ‘reality’ television offers the spectacle of, supposedly, the ‘real’ itself, a ‘reality’ that ranges from the banality of the quotidian to intense interpersonal engagements (two extremes experienced in Big Brother, for example). The two also overlap, however, nowhere more clearly and jarringly than in the ultimate ‘spectacle of the real’, the destruction of the World Trade Center in New York, live television coverage of which evoked constant comparison with big-screen fictional images.
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