Jean Baudrillard's Media Theory

Life is a mix of reality and fantasy, or in other words, is an illusion entered in the pattern of our lives to become a reality in various types of roads. And now the cameras and social networking sites control our minds and our eyes and the credibility of what we see.

For example, an image can show a young girl wearing a red robe over a piece of pizza, and other images that do not have any presence, but we believe it.

That's what spoke about it Jean Baudrillard (Simulacra and simulation).

Baudrillard later philosophy of culture can be mapped in terms of three things: 1- The orders of simulacra

2- The phases of the image

3- The three of utopian and science-fiction

Writing he saw corresponding to these orders and phases.

Orders of Simulacra:

If Baudrillard work has always been about media, it has also, therefore, always been about communication, and it is his specific formulation and use of this concept that I want to explore here as an introduction to his media theory. In Baudrillard we find a theory of human communication that serves as the basis for an original critical philosophy of the media. Although his earlier work contains important discussions of the media, he most clearly articulates the basis of this theory in his 1971 essay "Requiem for the

But as has also been noted, such a cultural consensus can potentially, and damagingly, prohibit serious enquiry. And this dilemma defines how the literature of terror has struggled over the years to come to terms with the representation of 9\11.

Thus, for Baudrillard, 9\11is an event that is the result of globalist or rather perhaps, the globalization of American economic, cultural military power. Given the ubiquity of this power and its complete dominance over the world, Baudrillard does not deny that terrorists were but he also accuses the globalized economy of being similarly immoral, he write including the Gulf War or the war in Afghanistan are the unavoidable eruptions endemic within any hegemonic domination.

But Baudrillard goes on to argue that 9/11 defies not just morality, but any form of interpretation. This statement feeds back to the earlier idea that the sheer size and scale of the attacks and their enormous visual symbolism posed specific problems for writers attempting to accommodate the subject into conventional fictional narratives. Indeed, contrary to Amis; assertion of a literature that would stand in opposition to what he sees as irrational, religious violence, the realist novel has struggled profoundly to represent the