Debord's influential theory of the spectacle is vitiated by its lack of historical and analytical differentiation. This article draws on Debord's own undeveloped distinction between the concentrated spectacle and the diffuse spectacle in order to propose a double genealogy and a fourfold typology of the spectacle since the French Revolution.
|Number of pages||15|
|Journal||Thesis Eleven: Critical Theory and Historical Sociology|
|Publication status||Published - 1 Jan 2003|