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Since Karl Marx fashioned his theory of capitalism in the nineteenth century, scholars have continually updated Marxian theory to capture the pervasiveness of commodity relations in modern society. Influenced by Georg Lukács and Henri Lefebvre, the members of the French avant-guard group, the Situationist International (1957–1972), developed an intransigent critique of consumer capitalism based on the concept of the spectacle. In the spectacle, media and consumer society replace lived experience, the passive gaze of images supplants active social participation, and new forms of alienation induce social atomization at a more abstract level than in previous societies. We endeavor to make two theoretical contributions: First, we highlight the contributions of the Situationist International, pointing out how they revised the Marxian categories of alienation, commodification, and reification in order to analyze the dynamics of twentieth century capitalism and to give these concepts new explanatory power. Second, we build a critical theory of consumer capitalism that incorporates the theoretical assumptions and arguments of the Situationists and the Frankfurt School. Today, critical theory can make an important contribution to sociology by critically examining the plurality of spectacles and their reifying manifestations. In addition, critical theorists can explore how different spectacles connect to one another, how they connect to different social institutions, and how spectacles express contradictions and conflicting meanings. A critical theory of spectacle and consumption can disclose both novelties and discontinuities in the current period, as well as continuities in the development of globalized consumer capitalism.

Purpose – This chapter examines the role of the media, guns, and violence in the social construction of masculinity in today's mediatized American culture.

Methodology – The chapter draws on critical theory and cultural studies to address crises of masculinity and school shootings. It applies and further develops Guy Debord's (1970) theory on spectacle in the contexts of contemporary violent media spectacles.

Findings – In the chapter it is argued that school shooters, and other indiscriminate gun killers, share male rage and attempts to resolve crises of masculinity through violent behavior; exhibit a fetishism of guns or weapons; and resolve their crises through violence orchestrated as a media spectacle. This demands growing awareness of mediatization of American gun culture, and calls for a need for more developed understanding of media pedagogy as a means to create cultural skills of media literacy, as well as arguing for more rational gun control and mental health care.

Originality/value of paper – The chapter contributes to the contemporary debate on mediatization of violence by discussing it within critical theory and cultural studies. The theoretical framework is applied to analysis of a range of different empirical cases ranging from school shootings to the Colorado movie theater massacre at the first night of the latest Batman movie in the summer of 2012.

This paper argues that contemporary executions by lethal injection represent spectacles of death. This spectacle of death upholds the sovereignty of the liberal state by evoking a sense of fear among the citizens. The State uses the apparently “painless” and “humane” form of execution by lethal injection to legitimize the death penalty in the U.S. I take the example of McVeigh’s execution to suggest that spectacles of execution continue in modern society, along with disciplinary processes that the liberal state depends on for its legitimacy. This paper, thus, aims to contribute towards a rethinking of a Foucauldian notion of power.

This chapter discusses the extent to which the absorptive class has been created as essentially narcissistic in character by the system of capitalist production. Guy Debord, an early critic of a post modern capitalism, argued that capitalism had gone so far in the production of the commodity that society is turned into a mirror or spectacle that represents the kind of void in existence felt at the core of the individuals within it. He also laments the way in which the economy exists for its own sake, rather than for those that live within it and as part of it. In his somewhat incoherent work, The Society of the Spectacle, he writes of the commodity as spectacle, and we find such assertions as (Debord, 1983):“The spectacle aims at nothing other than itself.”“The spectacle subjugates living men to itself to the extent that the economy has totally subjugated them. It is not more than the economy developing for itself.”“The spectacle is capital to such a degree of accumulation that it becomes an image.”

Capital increasingly takes the form of intangible assets, especially trademarked corporate brands. Further, contemporary capitalism increasingly accumulates through commodification of iconic cultural images and legendary narratives constituting a “second enclosure movement” (Boyle, 2008). This paper develops a critical theory of brands, branding, and brand management within economies of spectacle.

A case study of the consumer culture surrounding large displacement motorcycling is used to critique the central premise of consumer culture theory (marketing professionals create brands that become valuable icons) and develop an alternative view using concepts from critical theory, especially spectacle (Debord, 1967) and culture industry (Adorno, 1991).

After initial enclosure, legends were managed by Crossmarketing Licensing Networks (CMLN), coalitions of corporate and state actors, each possessing a piece of the legendary pie. The Sturgis CMLN was organized into two political divisions, rally profiteers and civic leaders, with overlapping but differentiated interests and approaches to the management of the Sturgis legend. The CMLN intervened in the cultural commons to overcome legendary degradations (banality, incoherence, undesirability) surrounding the Sturgis Motorcycle Rally.

Brands are capitalized culture created by enclosures, a form of primitive accumulation. Under current conditions of immaterial production, CMLN’s engage in ongoing cultural production to maintain the capitalized value of their brands. Brands are not only hunted in the wilds of culture, but also increasingly domesticated and fattened when herded through legendary commons.

This chapter outlines the paucity of media research attending to mental health and mental illness in sport. As such, the purpose of this chapter is to encourage critical reflection and further research on the mass mediation of mental illness in sport.

In the first part of the chapter, we review the extensive literature addressing the mass mediation of mental illness and mental health in order to provide key reference points for future scholarship. We then suggest to potential avenues for sociological study of this topic: Talcott Parson’s sick role and Guy Debord’s spectacle.

The authors find that the notion of the sick role provides insight into the assumptions underpinning athlete disclosure of mental illness as well as encouragement of help seeking behavior in relation to mental illness specifically. From a broader perspective on mental health, the authors identify a central challenge of the spectacular presentation of mental health and well-being and the lived experience.

The central limitation of the field currently is the dearth of research. Similarly, in providing a broad overview of key considerations, this chapter does not undertake primary media analysis of mental illness in sport. Nonetheless, the authors outline key considerations and lines of inquiry for the field.

This chapter analyses the presence of Russian feminists and female LGBTIQ+ activists within US-American mainstream media. In the course of a multimedia discourse analysis, it briefly raises questions of who becomes featured and how, to argue that current debates marginalise Russian queer female, trans*gender and intersex voices, compared to those of male queers. One exception to this trend is the case of the journalist and activist Masha Gessen. Together with Nadya Tolokonnikova of the protest group Pussy Riot, Gessen seems to represent Russian queers and feminists within US media. Although marginal, compared to the presence of US feminisms, especially popular culture figures such as Beyoncé Knowles-Carter or Lady Gaga, the two women become frequently featured within US news media and beyond. Frequently, those articles, interviews and discussions of their work open up a debate, or rather comparisons, between US values and Russian values, questions of modernity, progress and civilisation. Equally often, the female Russian dissidents are pictured as ‘Putin’s victims’ – the female versions of David fighting against Goliath – by focussing especially on their physical vulnerability and their female bodies. In this vein, feminism is constructed as inherently ‘Western’, while the bodies that carry out such feminisms and most of all their country of origin is entirely ‘othered’. Comparing the (self-)representations to other voices of female Russian dissent within US media, the author critically discuss the Western gaze of US mainstream media, its victimising strategies and homonationalistic construction of US identity and US nation in rejection of a ‘backward’ homophobic Russia.