1. Unnatural occurrence 2. The purpose is to be reported and reproduced 3. The relationship with the realistic basis of the situation is very vague 4. The purpose of the event is to become a self-fulfilling prophecy

Both demand and supply are growing. Realistic images have given the media the reputation of "defending the truth." Journalists are no longer content to wait for news events to happen, but actively create news events, conduct interviews with public figures, and call on government departments to organize news events. During the press conference, reporters and media are given a special status because they are observers concerned with public interests, and the media is elevated to the status of the fourth estate.

Government officials learned how to deal with the media and knew how to use fake events to their advantage: Roosevelt's fireside chats; and successful journalists knew how to rely on interviewing techniques to incite public figures to say something that would make headlines.

The entanglement of subject and object means that politicians are creating stories, and journalists themselves are generating events. News participants are not sure who is acting and who is reporting. Is the veracity of leaked news in doubt: Information leaked by government officials in private settings

Political propaganda is an exciting lie, while pseudo-events are ambiguous facts. There is an essential difference between the two. Political propaganda replaces facts with opinions, while pseudo-events synthesize facts.

Pseudo-events blur the boundaries of reality. Pseudo-events have several characteristics: dramatization, planning for communication, profit-oriented spending, repeatable, easy to understand, strong social attributes, spawning other secondary pseudo-events, Under the principle that bad money drives out good money, fake events tend to squeeze real events out of circulation channels and occupy public resources. A stereotype is a created pseudo-event that simplifies and labels things, thereby squeezing and limiting people's experience.

Television media is keen on creating media spectacles of pseudo-events.

Heroes are pushed off the altar, and politicians are no longer trusted but scrutinized because of the resistance of democratic countries to the cult of personality. In some countries, such as Japan, emperor worship is established because politics does not allow criticism of the emperor. The influence of Karl Marx and the rise of economic determinism have made people realize that times always make heroes.

In every era, public education is further and further left behind by technology. The public only knows one aspect of scientists who have made outstanding contributions but not the other.

Folk subcultures are gradually absorbed into the mainstream: rock, hip-hop, dance, etc. Idols and celebrities begin to rise, while heroes are gradually disenchanted.

Celebrity, he is neither good nor bad, neither great nor humble. He is a pseudo-event in human form, fabricated to satisfy our excessive expectations of human greatness. He is an entertainer who appears in the media, news, and advertising endorsements.

Magazine and newspaper readers no longer expect to learn anything from the lives of celebrities, but to obtain fun and social currency, or that they are containers of the public's boring time

The difference between heroes and celebrities is that celebrities create themselves through merit, while celebrities rely on images created by the media.

The passage of time can create or achieve heroes, but for celebrities, time means destruction. Either collapse or leave the show, be successful or destroyed by publicity.

The fame of celebrities is due to differentiated customization and personality. A celebrity = a personality, which is amplified by the media and promoted to the public.

Flying Alone Across the Atlantic: Charles Lindbergh; Traffic comes and goes quickly. After the media has exhausted the celebrities, they quickly move on to the next target. The purpose of the media to create celebrities is to please the public and can be quickly manufactured and replaced.

After the Image Revolution, Celebrities Overshadow Heroes

Celebrities are simply who the public wants to be, a better promoted version of us. In an effort to satisfy our own inflated expectations of human greatness, we mass-produce celebrities.

Being in the local area means stability, while traveling means ups and downs. Travelers once had to take risks, but now they have become the enjoyment of the petty bourgeoisie.

Travelers have a purpose, while tourists go sightseeing and having fun. Travel has become a process commodity to be sold. In order to share the cost of facilities, the transportation department lures tourists to travel for pleasure. The consumer group must expand, and the popularization of travel is for tourists.

Cook Company: During the group tour, all the itineraries are arranged. There is no danger during the tour. Tourists are treated as cargo and are sent to one place and then sent back. (Exquisite metaphor of the British upper class: Tour guides leading tourists are like shepherding sheep)

Comprehensive replication of travel models, including travel package services, hotel standards, etc.

The museum became a new artifact to educate the public (a new literate social class); the museum was a patchwork of false pseudo-events, as were all tourist attractions. The country that travelers saw in the old days was the real thing. What tourists see now is mostly what the local people specially collected and wanted them to see. Tourists and locals have formed a tacit understanding, that is, tourists need fake events that can be recorded with images to prove that they have watched them, and locals are happy to make money by creating fake events.

The high degree of homogeneity of road trips, national chain motels, and local imitations of domestic attractions have made travel a pseudo-event.

We are promised that we will see what we expect to see, and increasingly we travel not to see something but to take pictures.

With the popularization of printed matter and the image revolution disenchanting authenticity, movies have made up for the scenes that novels and dramas cannot express, and have gained wider attention in the visual field. Literature, on the other hand, is more focused on exploring the inner world - the world of eroticism, obscenity, blasphemy, symbolism, stream of consciousness, introspection

Excerpts and abbreviations are made from the best works, and a group of people appear to help readers read and comment and summarize in more concise language.

Further refined in the abstract of the paper, how to cope with the information explosion

The condensed version is more streamlined than the abbreviated version, and is available in paperback and a large number of reprints. For profit, publishers publish business, war, suspense novels and other subjects that are more popular with readers.

Film is a new method of dissolving literary forms. Film has influenced public attitudes towards literature. In our time, fiction is put on the screen, and reality itself is called non-fiction. Previously, people viewed reality as the norm. The adapted novel is put on the screen and is called the original work, while the original novel is just a narrative version of the original work.

Has literature become a vassal of vision? Audiences are more interested in watching than reading. writing to be adapted

Remaking stories, faces and images, and equating stars with celebrities are simply the product of pseudo-events. The star system is created by the public. Movie fans cannot be satisfied with nameless idols, and production companies naturally follow suit. The star system creates various stars and strengthens their image in the public mind through media exposure.

The American publishing industry has become a star-dominated world (the media only promotes writers with unique personalities such as Hemingway). The creators overshadow the work itself, and even celebrities can become best-selling authors simply by virtue of their fame.

Photography replicates “reality,” and mechanical reproduction makes uniqueness disappear and greatly obscures the quality of the product. Humans use photography to record nature and form a new kind of narcissism - that is, "Have you seen the Mona Lisa I took?"

The difference between primary consumers and secondary consumers (listeners), the concept of music performance itself has changed, and live and on-site audio-visual experiences can be transmitted to the audience through media. A performance in which an actor repeats a scene dozens of times on set so that the director can choose the best one and then splice the pieces together is no longer a unique, spontaneous experience (play). When actors become entertainers, drama becomes entertainment, and music is no longer something that is composed separately and each has its own unique form. Instead, it becomes an endless stream of homogeneity.

The proliferation of forms and advances in technology inevitably make all experience a commodity. Music becomes a mirror of emotions, and experience becomes equivalent to interior decoration. A best-selling book or movie is often the best combination of a recipe.

1. The image is synthetic

2. The image is credible

3. The image is passive

4. The image is realistic and concrete

5. The image is simplified

6. The image is ambiguous

Language becomes a tool, and in the world described by language, images are more interesting than prototypes and thus replace them. People also discuss images, not the things themselves. The world is malleable: Americans don’t vote for a presidential candidate because of their own opinions about them, but because of their public image

The public is no longer satisfied with advertisements that promote the selling points of products. The public is happy to see advertisements in which they are deceived and then wake up (by fabricating false events in advertisements to spread them). Albert Lasker once said: "The characteristic of all good advertisements is Similar to news. A large part of advertising’s appeal comes from the effort it takes to satisfy our exaggerated expectations.

The American positivist tradition, such as Franklin, believes that it is not important whether religion is true, but what is important is whether faith brings good results.

1. The charm of advertising that is neither true nor false

2. The charm of self-fulfilling prophecies

3. The charm that makes people confused

4. Artificial temptation

The amount of information continues to expand, and the boundaries between knowledge and ignorance are blurred; and judging criteria such as awards (Pulitzer, Oscar, Emmy Awards) have become the driving force for people's content consumption. Do you know that what the media reports covers other criteria? , pop culture and other pseudo-events have become “new knowledge”.

In advertising, desire is passively expanded through communication; in news, public opinion is manipulated and manufactured by the media; with the rise of image, the primacy effect affects public judgment, and the carnival of performative personality

The so-called American dream and American image survive in news and art forms. With the rise of image revolution and pseudo-events, Americans’ ability to create attractive images is increasing. Selling American images overseas has brought huge profits.

Confusing image and reality is the purpose of political propaganda. The government uses the media to whitewash itself. Regardless of democracy or republic, it serves capital behind the scenes.

The government information we get is all second-hand packaged through public relations/opinion departments/institutions. Even in this era, we personally are good at using disguise to create the best image for ourselves. This is the age of pretense. So this explains why people are keen on sports, crime, paparazzi news, because he is one of the few real people in the events reported by the media.

We fall in love with our own image, and we are trapped in a kind of social narcissism. Even with the blessing of contemporary technology, it is just a virtual image, and we are keen to create this virtual image.

All collective efforts at disenchantment only serve to intensify our hallucinations. We should not adhere to the national image and social image instilled in us by the media, but try to reach out to things beyond our image, so that strange, alien, and external concepts can pass without hindrance.