Medium is the Message
This excerpt is from Marshall McLuhan's concept of "the medium is the message," which
suggests that the medium through which information is transmitted has a greater impact on
society and individuals than the actual content of the message itself. In this context, whether
the electric light is used for brain surgery or night baseball doesn't matter because the
medium (electric light) fundamentally alters human behavior and interaction, regardless of
the specific content it illuminates. The electric light revolutionized various aspects of human
life, shaping how we live, work, and interact, regardless of the specific activities it enables.
Therefore, the medium (electric light) itself influences human association and action more
than the specific content it illuminates.
Pg 3 criticism of Sarnoff
McLuhan believes that understanding media requires looking beyond the surface-level
functions or uses of technology and recognizing how the medium itself influences
perception, interaction, and culture. Sarnoff's oversight of this aspect reflects a narrow
perspective that fails to grasp the broader implications of media on society.
McLuhan is illustrating the concept of how new forms emerge just as earlier forms reach
their peak performance. He uses the example of sound waves becoming visible just before
an airplane breaks the sound barrier to highlight this phenomenon. Similarly, he argues that
the birth of movies marked a significant transition from mechanization to a world of growth
and organic interrelation.
Movies, by accelerating the mechanical processes, facilitated this transition by moving
society from a linear, sequential mode of thinking to one focused on creative configuration
and structure. The message of the movie medium, according to McLuhan, is that of
transitioning from lineal connections to configurations, emphasizing the importance of
understanding media not just for their content but for their transformative effects on society.
As electric speed further dominates over mechanical movie sequences, McLuhan suggests
that the underlying structures and forces within both media and society become more
pronounced and evident. This return to an inclusive form, reminiscent of the icon, signifies a
shift towards a more holistic understanding of media and their impact on human culture and
interaction.
He criticizes the conventional response that "it is how [media] are used that counts,"
suggesting that this view overlooks the profound influence of the medium itself on
society and individuals. McLuhan introduces the concept that the "content" of a
medium, such as a movie, is like a distraction (or "juicy piece of meat") that
intensifies the effects of the medium itself. For example, while the content of a movie
may be a novel or a play, it's the medium of the movie itself that exerts a significant
influence on the viewer, regardless of the specific content.
A Passage to India (the phrase is from
Whitman , who saw America headed
Eastward) is a parable of Western man in the
electric age, and is only incidentallyrelated to
Europe or the orient. The ultimate conflict
between sight and sound, between written and
oral kinds of perception and organization of
existence is uponus. Since understanding
stops action, as Nietzsche observed, we can
moderate thefierceness of this conflict by und-
erstanding the media that extend us and raise
thesewars within and without us.
The quote suggests that "A Passage to India" serves as a parable of Western
civilization in the electric age, touching upon themes of perception, organization of
existence, and the conflict between sight and sound, written and oral forms of
communication. Understanding the media that extend us can help moderate the
intensity of these conflicts both internally and externally.
Certainly! The passage reflects on E.M. Forster's novel "A Passage to India" and its
relevance beyond its setting in Europe or the Orient. It suggests that the novel
serves as a metaphor for the challenges and conflicts faced by Western society in
the modern electric age. The mention of "sight and sound, written and oral kinds of
perception" refers to the clash between different forms of communication and
understanding. By understanding the media that shape our perceptions and
interactions, we can potentially mitigate the conflicts arising from these differences.
The reference to Nietzsche's observation about understanding stopping action
implies that deeper comprehension can lead to a more nuanced approach to
resolving conflicts. Overall, the passage encourages reflection on the impact of
media and communication on society and suggests that understanding these
influences can help navigate the tensions they create.
Being anti-Red
made it impossible for them to read the mes-
sage of Hitler. But their failure was as not-
hing compared to our present one. TheAmer-
ican stake in literacy as a technology or unifo-
rmity applied to every level ofeducation, gov-
ernment , industry, and social life is totally thr-
eatened by the electrictechnology. The threat
of Stalin or Hitler was external. The electric
technology iswithin the gates, and we are
numb, deaf, blind, and mute about its enco-
unter withthe Gutenberg technology, on and
through which the American way of life was
formed. It is, however, no time to suggest str-
ategies when the threat has not evenbeen
acknowledged to exist. I am in the position
of Louis Pasteur telling doctorsthat their grea-
test enemy was quite invisible, and quite unre-
cognized by them. ourconventional response
to all media , namely that it is how they are
used that counts,is the numb stance of the tec-
hnological idiot. For the “content” of a med-
ium is likethe juicy piece of meat carried by
the burglar to distract the watchdog of the
[Link] effect of the medium is made str-
ong and intense just because it is given an-
other medium as “content.” The content of a
movie is a novel or a play or an [Link] eff-
ect of the movie form is not related to its pro-
gram content. The “content” ofwriting or print
is speech, but the reader is almost entirely
unaware either of printor of speech. Explain
In this passage, the author, Marshall McLuhan, criticizes the failure of society to
recognize and understand the profound impact of electric technology on various
aspects of life, including education, government, industry, and social interactions. He
compares this failure to the inability of certain groups to comprehend the message of
figures like Hitler due to their biases.
McLuhan argues that while previous threats like Stalin and Hitler were external, the
threat posed by electric technology is internal and pervasive. He suggests that
people are numb, deaf, blind, and mute to the changes brought about by electric
technology, particularly in contrast to the Gutenberg technology (referring to the
printing press and written communication) upon which the American way of life was
established.
He criticizes the conventional response that "it is how [media] are used that counts,"
suggesting that this view overlooks the profound influence of the medium itself on
society and individuals. McLuhan introduces the concept that the "content" of a
medium, such as a movie, is like a distraction (or "juicy piece of meat") that
intensifies the effects of the medium itself. For example, while the content of a movie
may be a novel or a play, it's the medium of the movie itself that exerts a significant
influence on the viewer, regardless of the specific content.
Overall, McLuhan's argument underscores the need for society to acknowledge and
understand the transformative effects of electric technology, rather than dismissing
them or focusing solely on the content delivered through these mediums.
In this passage, McLuhan draws parallels between the transformative effects of the
money economy in seventeenth-century Japan and the impact of typography in the
Western world. He suggests that the introduction of money into a society reorganizes
its sense life, leading to significant societal changes, regardless of whether
individuals approve or disapprove of these changes.
McLuhan critiques Arnold Toynbee's concept of "etherialization," which emphasizes
progressive simplification and efficiency in technology and organization. He argues
that Toynbee overlooks the profound impact of media and technology on human
perception and senses. McLuhan contends that in literate and homogenized
societies, individuals become less sensitive to the diverse and discontinuous forms
of life, developing a sense of the "private point of view" influenced by the typographic
spell.
He contrasts this with the awareness expressed by figures like Blake and the
Psalmist, who understood the transformative power of perception. McLuhan
suggests that individuals "become what we behold," implying that our perceptions
and interactions with media shape our understanding of the world and ourselves.
Overall, McLuhan emphasizes the importance of recognizing the influence of media
and technology on human perception and society, highlighting the need to
understand how these mediums reshape our sense lives and societal structures.
In simpler terms, McLuhan is saying that just like how money changed Japan in the
17th century, the printing press changed the Western world. These changes happen
because these things affect how we perceive the world around us. He criticizes
Arnold Toynbee's idea that technology makes things simpler and more efficient,
saying Toynbee ignores how it changes our senses and perception. McLuhan thinks
that in societies where everyone can read and things are the same, people lose
touch with the diverse and complex aspects of life. He believes that what we see and
experience through technology shapes how we understand ourselves and the world.
You
1. Toynbee's Concept of Etherialization:
○ McLuhan critiques Arnold Toynbee's idea of "etherialization," which
focuses on simplification and efficiency in technology and organization.
○ He argues that Toynbee overlooks the impact of media and technology
on human perception and senses.
2. Loss of Sensitivity in Homogenized Societies:
○ In literate and homogenized societies, individuals become less
sensitive to the diverse and complex aspects of life.
○ McLuhan suggests that people develop a narrow, "private point of
view" influenced by the dominant media of their time.
3. Impact on Self-Understanding and Worldview:
○ McLuhan believes that what people see and experience through
technology shapes their understanding of themselves and the world.
○ He suggests that individuals "become what we behold," indicating the
profound influence of media on identity and perception.
4. McLuhan discusses how the formative power of media lies within the media
themselves, comparing them to staples or natural resources like coal, cotton,
or oil. Here are the main points explained:
5.
6. 1. **Media as Staples:**
7. - Just as societies rely on staples like cotton or oil for their economy, they
also rely on media for their social organization and cultural identity.
8.
9. 2. **Social Patterns and Organization:**
10. - Dependence on a few major staples creates specific social patterns and
structures within a society.
11. - For example, the American South's reliance on cotton shaped its
economic, social, and cultural landscape, influencing its pathos and humor.
12.
13. 3. **Fixed Charges on Psychic Life:**
14. - Media, like cotton or oil, become integral parts of a society's psychic life,
shaping its thoughts, beliefs, and behaviors.
15. - Radio, TV, and other media outlets impose significant influence on a
community's cultural flavor, becoming embedded in its identity.
16.
17. 4. **Cost of Dependence:**
18. - Just as societies pay a price for their reliance on staples, they also pay
through various senses for their dependence on media.
19. - Media become "fixed charges" on the community's psychic life, affecting
not only its economy but also its cultural and social dynamics.
20.
21. Overall, McLuhan suggests that media, like staples, play a crucial role in
shaping societies, influencing everything from their economic structures to
their cultural identities.
McLuhan suggests that when faced with significant changes, either from new
technologies or intense personal experiences, society and individuals often resort to
maintaining a facade of normalcy. However, this facade can only be sustained
through frantic efforts to rearrange and support it after the initial shock or blow has
occurred.
He likens this phenomenon to the way in which detective fiction, as observed by
Peter Cheyney, serves as a mimic model of real-life events. In other words, detective
fiction reflects and imitates the processes of dealing with real-life crimes and
mysteries. Just as society scrambles to uphold the facade of customary norms after
a significant event, detective fiction serves as a simulated representation of the
process of solving crimes and mysteries.
In essence, McLuhan suggests that both in societal and personal contexts, there is a
tendency to quickly numb ourselves from the initial shock of change or intense
experiences and then prepare to assimilate and adapt to the new circumstances.
Detective fiction serves as a popular form of entertainment that mirrors this process,
offering readers a simulated experience of grappling with and ultimately resolving
complex situations.
In an electric information environment, minority groups can no longer be contained
— ignored. Too many people know too much about each other. Our new
environment compels commitment and participation. We have become irrevocably
involved with, and responsible for, each other. Pg 16 of 85
All media are extensions of some human faculty psychic or physical the wheel is an
extension of foot, the book an extension of the eye
Media, by altering the environment, evoke in us unique ratios of sense perceptions.
The extension of any one sense alters the way we think and act— the way we
perceive the [Link] these ratios change,men change. Pg 24 -85
Its use fostered and encouraged the habit of perceiving all environment in visual and
spatial terms — particularly in terms of a space and of a time that are
uniform,became the organizing principle of life. "As we begin, so shall we go."
"Rationality" and logic came to depend on the presentation of connected and
sequential facts or [Link] many people rationality has the connotation of
uniformity and connectiveness. "I don't follow you" means "1 don't think what you're
saying is rational."Visual space is uniform, continuous, and connected. Rationality
and visuality have long been interchangeable terms, but we do not live in a primarily
visual world any [Link] fragmenting of activities, our habit of thinking in bits and
parts — "specialism"— reflected the stepby-step linear departmentalizing process
inherent in the technology of the alphabet. Printing, a ditto device confirmed and
extended the new visual stress. It provided the first uniformly repeatable
"commodity," the first assembly line — mass [Link] created the portable book,
which men could read in privacy and in isolation from others. Man could now inspire
— and conspire.
"A cell for citters to cit in."
The idea of detention in a closed space as a form of human punitive corrective action
seems to have come in very much in the thirteenth and fourteenth centuries — at the
time perspective and pictorial space was developing in our Western world. The
whole concept of enclosure as a means of constraint and as a means of classifying
doesn't work as well in our electronic world. The new feeling that people have about
guilt is not something that can be privately assigned to some individual, but is, rather,
something shared by everybody, in some mysterious way. This feeling seems to be
returning to our midst. In tribal societies we are told that it is a familiar reaction, when
some hideous event occurs, for some people to say, "How horrible it must be to feel
like that," instead of blaming somebody for having done something horrible. This
feeling is an aspect of the new mass culture we are moving into — a world of total
involvement in which everybody is so profoundly involved with everybody else and in
which nobody can really imagine what private guilt can be anymore. Pg 34
Electric circuitry profoundly involves men with one another. Information pours upon
us, instantaneously and continuously. As soon as information is acquired, it is very
rapidly replaced by still newer information. Our electrically-configured world has
forced us to move from the habit of data classification to the mode of pattern
recognition. We can no longer build serially, block-by-block, step-by-step, because
instant communication insures that all factors of the environment and of experience
coexist in a state of active interplay.
The main obstacle to a clear understanding of the effects of the new media is our
deeply embedded habit of regarding all phenomena from a fixed point of view. Pg 38
Print technology created the public. Electric technology created the mass. The public
consists of separate individuals walking around with separate, fixed points of view.
The new technology demandsthat we abandon the luxury of this posture, this
fragmentary [Link] method of our time is to use not a single but multiple
models for exploration — the technique of the suspended judgment is the discovery
of the twentieth century as the technique of invention was the discovery of the
nineteenth.
Most people find it difficult to understand purely verbal concepts. They suspect the
ear; they don't trust it. In general we feel more secure when things are visible, when
we can "see for ourselves." We admonish children, for instance, to "believe only half
of what they see, and nothing of what they hear." All kinds of "shorthand" systems of
notation have been developed to help us see what we hear.
We employ visual and spatial metaphors for a great many everyday expressions. We
insist on employing visual metaphors even when we refer to purely psychological
states, such as tendency and duration. For instance, we say there after when we
really mean thenafter, always when we mean at all times. We are so visually biased
that we call our wisest men visionaries, or seers!
Television completes the cycle of the human sensorium. With the omnipresent ear
and the moving eye, we have abolished writing, the specialized acoustic-visual
metaphor that established the dynamics of Western [Link] television there
occurs an extension of the sense of active, exploratory touch which involves all the
senses simultaneously, rather than that of sight alone. You have to be "with" it. But in
all electric phenomena, the visual is only one component in a complex interplay.
Since, in the age of information, most transactions are managed electrically, the
electric technology has meant for Western man a considerable drop in the visual
component, in his experience, and a corresponding increase in the activity of his
other senses.
Television demands participation and involvement in depth of the whole being. It will
not work as a background. It engages you. Perhaps this is why so many people feel
that their identity has been threatened. This charge of the light brigade has
heightened our general awareness of the shape and meaning of lives and events to
a level of extreme [Link] was the funeral of President Kennedy that most
strongly proved the power of television to invest an occasion with the character of
corporate participation. It involves an entire population in a ritual process. (By
comparison, press, movies, and radio are mere packaging devices for consumers.)
In television, images are projected at you. You are the screen. The images wrap
around you. You are the vanishing point. This creates a sort of inwardness, a sort of
reverse perspective which has much in common with Oriental at
The environment as a processor of information is propaganda. Propaganda ends
where dialogue begins. You must talk to the media, not to the programmer. To talk to
the programmer is like complaining to a hot dog vendor at a ballpark about how
badly your favorite team is playing
You see, Dad, Professor McLuhan says the environment that man creates becomes
his medium for defining his role in it. The invention of type created linear, or
sequential, thought, separating thought from action. Now, with TV and folk singing,
thought and action are closer and social involvement is greater. We again live in a
village. Get it?"
1. **Environment as Medium**: McLuhan proposed that the medium through which
information is conveyed shapes not only the message but also the way individuals
perceive and interact with the world. For example, the printing press changed how
people consumed information and thought about the world by making written texts
more accessible.
2. **The Invention of Type and Linear Thought**: McLuhan argued that the invention
of the printing press and movable type led to the dominance of linear, sequential
thought. With printed books and written texts, information became structured in a
linear manner, encouraging a step-by-step approach to processing information. This
separation of thought from action allowed for more analytical and detached thinking.
3. **TV and Folk Singing**: McLuhan suggested that the advent of television and
mediums like folk singing shifted the balance. TV, with its audio-visual format,
brought back a sense of immediacy and involvement. It merged thought and action
by presenting information in a more simultaneous and immersive manner. Similarly,
folk singing, being a form of oral tradition, brings people together in a communal
experience, blurring the lines between thought and action.
4. **Living in a Village Again**: By invoking the notion of "living in a village,"
McLuhan suggests that these newer media forms reintroduce a sense of community
and interconnectedness akin to small, close-knit societies. In a village setting,
communication is more immediate, personal, and participatory compared to the more
detached and analytical communication fostered by the printing press and written
texts.
In summary, McLuhan's point is that changes in media technology not only alter how
we perceive and understand the world but also influence our social structures and
modes of interaction. The shift from print to television and oral traditions represents a
move towards a more interconnected and participatory society, akin to the dynamics
of a village where thought and action are closely intertwined.
Certainly! Let's approach each of the questions using Marshall McLuhan's theory
that "the medium is the message":
1. **Influence of Cinema on Narrative Construction of Historical Events**:
McLuhan would argue that cinema, as a medium, fundamentally alters the way
historical events are portrayed and perceived. The visual and auditory nature of film
creates an immersive experience for audiences, shaping their understanding and
interpretation of history. Thus, the medium of cinema itself becomes a significant part
of the message conveyed. For instance, the fast-paced editing, dramatic music, and
visual effects in historical films like "Saving Private Ryan" or "Schindler's List" not
only depict specific events but also evoke emotional responses, influencing how
audiences connect with the historical narrative.
2. **Employment of Narrative Techniques in Historical Storytelling**:
From a McLuhanesque perspective, filmmakers strategically utilize narrative
techniques to navigate the complexities of historical storytelling within the medium of
cinema. The nonlinear storytelling in films like "Memento" or "Dunkirk" disrupts
traditional chronological structures, emphasizing the fragmented nature of historical
memory and challenging viewers' perceptions. These choices in narrative structure
are integral to the message conveyed by the medium itself, highlighting how cinema
shapes not only the content but also the form of historical narratives.
3. **Audience Interpretation of Cinematic Representations of History**:
McLuhan would argue that audience interpretation of cinematic representations of
history is deeply influenced by the medium's characteristics. Post-production
processes such as marketing, distribution, and exhibition amplify this effect by
framing historical films within specific contexts and narratives. For example, the
marketing campaign for "The Social Network" positioned it as a commentary on
modern technology and entrepreneurship, shaping audience expectations and
interpretations. Thus, the medium of cinema, coupled with post-production
processes, plays a pivotal role in shaping how historical narratives are received and
interpreted by audiences.
4. **Power Dynamics in the Film Industry**:
McLuhan's theory suggests that power dynamics within the film industry
significantly impact the narrative framing and presentation of historical films.
Marketing strategies, censorship regulations, and digital manipulation all influence
how historical events are portrayed and interpreted on screen. For instance, the
decision to censor or alter historical facts in films like "The King's Speech" or "Argo"
reflects broader industry pressures and agendas, shaping the message conveyed by
the medium of cinema and potentially distorting historical accuracy.
5. **Challenging Dominant Historical Narratives**:
Filmmakers who challenge dominant historical narratives often employ narrative
strategies during post-production to subvert or destabilize mainstream
interpretations. McLuhan would argue that these filmmakers harness the medium of
cinema to disrupt conventional storytelling norms and offer alternative perspectives
on history. For example, the use of unreliable narrators or ambiguous endings in
films like "Rashomon" or "JFK" encourages audiences to question established truths
and consider multiple viewpoints, illustrating how the medium itself can be used to
challenge and reshape historical narratives.
Films Literature and Culture Jasbir Jain introduction Pg 3
The relationship with the reader and the novel is different from the one between
viewer and film. In films the reception is subjected to the dynamics of group watching
and when this is not the case the visual image evokes imaginative empathy as a
response as opposed to the former that works through language, is one-to one and
works on imagination, history and culture. The film through visual image and fluidity
is a closer proximation of reality. The average viewer tends to bring in the question of
historical veracity or it’s treated as a close artifact, representative of a make believe
world.
Representation by the fact of selection acquires a frame and frames are not all
inclusive.
The visible lies only at a surface level, it pushes us to seek meaning beyond
representation. It includes the phenomenological real and ontological real engaging
both the sense and the mind. Films a reminder that we as individuals make history?
(Barnes Johns Rhetoric and Poetics)
1. How does cinema influence the narrative construction of historical events and
figures in cinema, and what implications does this have for shaping public
perceptions of the past?
2. In what ways do filmmakers employ narrative techniques to navigate the
complexities of historical storytelling, and how do these choices contribute to the
creation of dominant historical narratives in cinema?
3. How do audiences interpret and engage with the narrative structures of cinematic
representations of history, considering the influence of post-production processes
such as marketing, distribution, and exhibition, and what insights does this provide
into the reception and interpretation of historical narratives?
4. What power dynamics within the film industry, including marketing strategies,
censorship regulations, and digital manipulation, shape the narrative framing and
presentation of historical films, and how do these dynamics influence the
construction of alternate historiographies on screen?
5. How do filmmakers challenge dominant historical narratives and offer counter-
narratives through narrative strategies employed during post-production, and what
techniques do they utilize to subvert or destabilize mainstream interpretations of
history in cinema?
These research questions focus on the narrative aspects of cinematic historiography,
including how narratives are constructed, interpreted, and challenged through post-
production processes. They provide opportunities for interdisciplinary exploration
across fields such as Film Studies, History, Cultural Studies, Media Studies, and
Critical Theory.
Paragraph 3
[Link]
Use it to justify the previous decision taken by Judiciary against the states ban of ore ore
gramathile for the ban of Parazania
[Link]
geographies_of_the_cinematic_public_notes_on_regional_national_and_global.pdf
Neither State Nor Faith: Mediating Sectarian Conflict in Popular Cinema
Ravi Vasudevan
Chapter
167
[Link]
[Link]
1390833330=&response-content-disposition=inline%3B+filename
%3DIs_there_a_Public_in_the_Cinema_Hall.pdf&Expires=1709636843&Signature=
d~x~rqIPJK-
vwoBSKEMOm6rcmmu81h9xl6avyz1ir664DtI2o9Px7W6asQvWe89dQeTFvlfxeaaDz
yP~7aSjvM~G29KQujwUcDnOKHSieOUH22BCAfu8dDa2dPzJ8ly4CoZlc8cCTJj-
Dn81sGER1dp~76va6yUAS4m1OZGVXrIQMeU2iXS7cFsaJJeTUYvYWKtadvRs-
les2E4ajOSQLaGHI8DSvTpyDV9~MNBqDkpH~Qc~CanQmAzusl9oQd4AhmtYPg1q
GhZfd1B3sg5fAYYR6l08ppbtibcC9nXWQX9P85-
DxdEfhLp71C9wmeMTfGKeiRA0DYl9jDamRCKlFg__&Key-Pair-
Id=APKAJLOHF5GGSLRBV4ZA