Empire of Illusion Read Online Free Page A

suffer great pain. Blinded by the glare, he is unable to see anything and longs for the familiar darkness. But eventually his eyes adjust to the light. The illusion of the tiny shadows is obliterated. He confronts the immensity, chaos, and confusion of reality. The world is no longer drawn in simple silhouettes. But he is despised when he returns to the cave. He is unable to see in the dark as he used to. Those who never left the cave ridicule him and swear never to go into the light lest they be blinded as well.
    Plato feared the power of entertainment, the power of the senses to overthrow the mind, the power of emotion to obliterate reason. No admirer of popular democracy, Plato said that the enlightened or elite had a duty to educate those bewitched by the shadows on the cave wall, a position that led Socrates to quip: “As for the man who tried to free
them and lead them upward, if they could somehow lay their hands on him and kill him, they would do so.”
    We are chained to the flickering shadows of celebrity culture, the spectacle of the arena and the airwaves, the lies of advertising, the endless personal dramas, many of them completely fictional, that have become the staple of news, celebrity gossip, New Age mysticism, and pop psychology. In The Image: A Guide to Pseudo-Events in America , Daniel Boorstin writes that in contemporary culture the fabricated, the inauthentic, and the theatrical have displaced the natural, the genuine, and the spontaneous, until reality itself has been converted into stagecraft. Americans, he writes, increasingly live in a “world where fantasy is more real than reality.” He warns:
    We risk being the first people in history to have been able to make their illusions so vivid, so persuasive, so “realistic” that they can live in them. We are the most illusioned people on earth. Yet we dare not become disillusioned, because our illusions are the very house in which we live; they are our news, our heroes, our adventure, our forms of art, our very experience. 5
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    Boorstin goes on to caution that
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    an image is something we have a claim on. It must serve our purposes. Images are means. If a corporation’s image of itself or a man’s image of himself is not useful, it is discarded. Another may fit better. The image is made to order, tailored to us. An ideal, on the other hand, has a claim on us. It does not serve us; we serve it. If we have trouble striving towards it, we assume the matter is with us, and not with the ideal. 6
    Those who manipulate the shadows that dominate our lives are the agents, publicists, marketing departments, promoters, script writers, television and movie producers, advertisers, video technicians, photographers, bodyguards, wardrobe consultants, fitness trainers, pollsters, public announcers, and television news personalities who create the vast stage for illusion. They are the puppet masters. No one achieves celebrity status, no cultural illusion is swallowed as reality, without these
armies of cultural enablers and intermediaries. The sole object is to hold attention and satisfy an audience. These techniques of theater, as Boorstin notes, have leeched into politics, religion, education, literature, news, commerce, warfare, and crime. The squalid dramas played out for fans in the wrestling ring mesh with the ongoing dramas on television, in movies, and in the news, where “real-life” stories, especially those involving celebrities, allow news reports to become mini-dramas complete with a star, a villain, a supporting cast, a good-looking host, and a neat, if often unexpected, conclusion.
    The nation can sit rapt at one of these real-life stories, as happened when O. J. Simpson went on trial for the murder of his estranged wife and her purported lover. A carefully manipulated image of real life, which can be based either on utter fiction or, as in Simpson’s case, real tragedy, can serve as a myth on which millions