By The Guardian
The Leveson Inquiry has, all through 2012, attracted numerous column inches because it has tested press law within the united kingdom. within a London court docket, the Inquiry has advanced and debates were ignited. newshounds, politicians, policemen - in addition to the unusual movie celebrity - were summonsed to the Royal Courts of Justice.
Throughout all of it, the Guardian's caricature writers stuck the view from the court - the characters and reviews, the ambience and perspective of occasions. the consequent pen-portraits of the most important gamers, from Rupert Murdoch to David Cameron, are all accumulated right here during this distinct assessment of the Inquiry's so much momentous days. vigorous and remark, they provide a distinct vantage aspect from the center of the motion inside courtroom seventy three itself and are followed via an particular creation from Dan Roberts, the Guardian's nationwide Editor.
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Extra resources for The Leveson Inquiry: A View from the Courtroom
Sample text
Interactivity, for example, has been theorized as a mode of address fully consonant with the kind of knowledge-power relations required by technological, consumerist capitalism (Barry 1998). Clearly, this opens up questions about how cultural and economic processes reinforce each other in the proliferation of display. The next section examines further the role of consumption in cultural display by looking at its economic uses. The cultural economy of visitability The first point to note is the fact that we live in a society dominated at many levels by the banal, routine ubiquity of exhibition and symbolic display.
Hannerz (1990) distinguishes between ‘cosmopolitans’ and locals, noting the emergence of a highly mobile class of culturally literate consumers who can navigate their way (literally and metaphorically) around global cultures. They are a minority, however, compared to the world’s ‘locals’. These latter, being largely confined to their immediate environment, are by necessity pre-occupied with it. And large sections of the global working class (such as those without work or in casual, intermittent employment) are non-participants in the games of lifestyle consumption and tourism.
They have thus made it legitimate, worthy of serious comment and not simply dismissable by the intellectual class. The role of intellectuals, in the process, has become reduced to interpreting trends, rather than legislating on matters of taste (Bauman 1987). Above all, NCIs do not promote one particular style but a general attitude which sees style as all important. This fascination with the ‘melting pot’ of style is a key ingredient in the proliferation of cultural display today. A CULTURE OF DISPL AY Exclusions and inequalities The above analysis of class is not intended to suggest that cultural display belongs to the service class alone, nor that it is invisible or marginal to other class horizons.
