By J. jagodzinski
This booklet explores early life in postmodern society via a Lacanian lens. Jagodzinski explores the generalized paranoia that pervades the panorama of tv. rather than disregarding paranoia as a damaging improvement, he claims that early life this present day labour in the context of paranoia to discover their identities.
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Additional resources for Television and Youth Culture: Televised Paranoia (Education, Psychoanalysis, Social Transformation)
This is the apotheosis of the poststructuralist subject. 2 Both Habermas and Giddens, as sociologists, had affinities with Marxism’s questioning of capitalism and its consumerism. However, Giddens has been severely criticized for his overemphasis on rationalism (Mestrovic 1998), while Habermas’s theory of “communicative action” (1984)—the core of which was an “ideal speech situation” where an equal playing field among actors was to be maintained through speech acts undistorted by ideology or misrecognition— was equally criticized for its naïve rationalist emphasis (a representative array can be found in Thompson and Held 1982; Johnson 1991).
Clark is always paranoid (like Sydney Bristow in Alias) about being “discovered,” while Jason and Jen, as outsiders to the Symbolic order of Capeside, have to “face”—in self-refleXion—their undercover life: Jason, his closeted homosexuality, and Jen, her “godlessness” as a “pleasure” seeker—she loves promiscuous sex. The coupling of these various characters throughout the series presents different flows and affects for viewing pleasure. The concept of haecceity as “a mode of individuation . . very different from that of a person, subject, thing, or substance” (Deleuze and Guattari, 1987, 261) addresses directly the “agency panic” (Melley, 2000) in an age of paranoia where the grand narrative of classical liberalism is breaking down, for the haecceitic assemblage has agency shared through connections.
All along she remains in the position of a victim caught in the grips of her own masochism. ” It is here that the plot twists and that a disjunctive synthesis is presented to viewers. It turns out that the mob leader is Grace’s father, a loving father at that. She has “used” the inhabitants of the village for her own narcissistic ends to prove that her gangster father was wrong in his assessment of people. Grace as victim now becomes Grace the victimizer. Revenge is sought, and the village is eventually burned.