A capitalist society requires a culture based on images. It needs to furnish vast amounts of entertainment in order to stimulate buying and anesthetise the injuries of class, race, and sex. And it needs to gather unlimited amounts of information, the better to exploit natural resources, increase productivity, keep order, make war, give jobs to bureaucrats. The camera's twin capacities, to subjectivise reality and to objectify it, ideally serve these needs as strengthen them. Cameras define reality in the two ways essential to the workings of an advanced industrial society: as a spectacle (for masses) and as an object of surveillance (for rulers). The production of images also furnishes a ruling ideology. Social change is replaced by a change in images. The freedom to consume a plurality of images and goods is equated with freedom itself. The narrowing of free political choice to free economic consumption requires the unlimited production and consumption of images.

Cameras miniaturize experience, transform history into spectacle.

Like a car, a camera is sold as a predatory weapon — one that’s as automated as possible, ready to spring. Popular taste expects an easy, an invisible technology.

You put your camera around your neck in the morning, along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.

Surveillance today is a means of sorting and classifying populations and not just of invading personal space or violating the privacy of individuals. In postmodernizing contexts surveillance is an increasingly powerful means of reinforcing social divisions, as the superpanoptic sort relentlessly screens, monitors and classifies to determine eligibility and access, to include and to exclude.

In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.

"To speak of reality becoming a spectacle is a breathtaking provincialism. It universalizes the viewing habits of a small, educated population living in the rich part of the world, where news has been converted into entertainment — that mature style of viewing which is a prime acquisition of "the modern," and a prerequisite for dismantling traditional forms of party-based politics that offer real disagreement and debate. It assumes that everyone is a spectator. It suggests, perversely, unseriously, that there is no real suffering in the world."

Fundamentally, the camera is nothing more than a light-tight box, having an arrangement for holding a light-sensitive substance (plate or film) and a device (lens or pinhole) for projecting on this sensitive substance an image of objects external to the camera.

[I think] the movie is not a thing which is taken by the camera; the movie is the reality of the movie moving from reality to the camera.

With its passive and unobtrusive despotism, the camera governed the smallest spaces of our lives. Even in the privacy of our own homes we had all been recruited to play our parts in what were little more than real-life commercials. As we cooked in our kitchens we were careful to follow the manufacturer's instructions, as we made love in our bedrooms we embraced within a familiar repertoire of gestures and affections. The medium of film had turned us all into minor actors in an endlessly running daytime serial. In the future, airliners would crash and presidents would be assassinated within agreed conventions as formalised as the coronation of a tsar.

The spectacle is not a collection of images; rather, it is a social relationship between people that is mediated by images.

Photographs are a way of imprisoning reality...One can't possess reality, one can possess images — one can't possess the present but one can possess the past.

Cinema has evolved in two paths. One is spectacle. Like the phantasmagoria, its goal is the creation of a total substitute sensory world. The other is peep show, which claims for its realm both the erotic and the untampered observance of real life, and imitates the keyhole or voyeur's window without need of color, noise, grandeur.

Cinema is a product of society. You look around you, the way women dress up for parties is no longer the same.