Entertainment is the supra-ideology of all discourse on television. No matter what is depicted or from what point of view, the overarching presumptio… - Neil Postman

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Entertainment is the supra-ideology of all discourse on television. No matter what is depicted or from what point of view, the overarching presumption is that it is there for our amusement and pleasure. That is why even on news shows which provide us daily with fragments of tragedy and barbarism, we are urged by the newscasters to “join them tomorrow.” What for? One would think that several minutes of murder and mayhem would suffice as material for a month of sleepless nights. We accept the newscasters’ invitation because we know that the “news” is not to be taken seriously, that it is all in fun, so to say.

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About Neil Postman

Neil Postman (8 March 1931 - 5 October 2003) was an American author, educator, media theorist and cultural critic, who eschewed technology, including personal computers in school and cruise control in cars, and is best known for twenty books regarding technology and education and his association with New York University for more than forty years.

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Definitions, like questions and metaphors, are instruments for thinking. Their authority rests entirely on their usefulness, not their correctness. We use definitions in order to delineate problems we wish to investigate, or to further interests we wish to promote. In other words, we invent definitions and discard them as suits our purposes. And yet, one gets the impression that... God has provided us with definitions from which we depart at the risk of losing our immortal souls. This is the belief that I have elsewhere called "definition tyranny," which may be defined... as the process of accepting without criticism someone else's definition of a word or a problem or a situation. I can think of no better method of freeing students from this obstruction of the mind than to provide them with alternative definitions of every concept and term with which they must deal in a subject. Whether it be "molecule," "fact," "law," "art," "wealth," "gene," or whatever, it is essential that students understand that definitions are hypotheses, and that embedded in them is a particular philosophical, sociological, or epistemological point of view.

We may say then that the contribution of the telegraph to public discourse was to dignify irrelevance and amplify impotence. But this was not all: Telegraphy also made public discourse essentially incoherent. It brought into being a world of broken time and broken attention, to use Lewis Mumford's phrase. The principle strength of the telegraph was its capacity to move information, not collect it, explain it or analyze it. In this respect, telegraphy was the exact opposite of typography.

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Television is our culture's principal mode of knowing about itself. Therefore — and this is the critical point — how television stages the world becomes the model for how the world is properly to be staged. It is not merely that on the television screen entertainment is the metaphor for all discourse. It is that off the screen the same metaphor prevails. (92)

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