Jean Baudrillard took a trip in the eighties, a drive across the U.S. He wrote a book, America, about his trip. What follows is an excerpt just for me and you:
It is not the least of America’s charms that even outside the movie theaters the whole country is cinematic. The desert you pass through is like the set of a Western, the city a screen of signs and formulas. It is the same feeling you get when you step out of an Italian or a Dutch gallery into a city that seems the very reflection of the paintings you have just seen, as if the city had come out of the paintings and not the other way about. The American city seems to have stepped right out of the movies. To grasp its secret, you should not, then, begin with the city and move inwards to the screen; you should begin with the screen and move outwards to the city. It is there that cinema does not assume an exceptional form, but simply invests the streets and the entire town with a mythical atmosphere. That is where it is truly gripping. This is why the cult of stars is not a secondary phenomenon, but the supreme form of cinema, its mythical transfiguration, the last great myth of our modernity. Precisely because the idol is merely a pure, contagious image, a violently realized ideal.
They say that stars give you something to dream about, but there is a difference between dreaming and fascination by images. The screen idols are immanent in the unfolding of life as a series of images. They are a system of luxury prefabrication, brilliant syntheses of the stereotypes of life and love. They embody one single passion only: the passion for images, and the immanence of desire in the image. They are not something to dream about; they are the dream. And they have all the characteristics of dreams: they produce a marked condensation (crystallization) effect and an effect of contiguity (they are immediately contagious), and, above all, they have the power of instantaneous visual materialization (Anschaulichkeit) of desire, which is also a feature of dreams. They do not, therefore, feed the romantic or sexual imagination; they are immediate visibility, immediate transcription, material collage, precipitation of desire. Fetishes, fetish objects, that have nothing to do with the world of the imagination, but everything to do with the material fiction of the image.
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Amy King is the recipient of the 2015 Winner of the Women’s National Book Association (WNBA) Award. Her latest collection, The Missing Museum, is a winner of the 2015 Tarpaulin Sky Book Prize. She co-edited with Heidi Lynn Staples the anthology Big Energy Poets of the Anthropocene: When Ecopoets Think Climate Change. She also co-edits the anthology series, Bettering American Poetry, and is a professor of creative writing at SUNY Nassau Community College.