Democracy and Other Neoliberal Fantasies is an impassioned call for the realization of a progressive left politics in the United States. Through an assessment of the ideologies underlying contemporary political culture, Jodi Dean takes the left to task for its capitulations to conservatives and its failure to take responsibility for the extensive neoliberalization implemented during the Clinton presidency. She argues that the left’s ability to develop and defend a collective vision of equality and solidarity has been undermined by the ascendance of “communicative capitalism,” a constellation of consumerism, the privileging of the self over group interests, and the embrace of the language of victimization. As Dean explains, communicative capitalism is enabled and exacerbated by the Web and other networked communications media, which reduce political energies to the registration of opinion and the transmission of feelings. The result is a psychotic politics where certainty displaces credibility and the circulation of intense feeling trumps the exchange of reason.

Dean’s critique ranges from her argument that the term democracy has become a meaningless cipher invoked by the left and right alike to an analysis of the fantasy of free trade underlying neoliberalism, and from an examination of new theories of sovereignty advanced by politicians and left academics to a look at the changing meanings of “evil” in the speeches of U.S. presidents since the mid-twentieth century. She emphasizes the futility of a politics enacted by individuals determined not to offend anyone, and she examines questions of truth, knowledge, and power in relation to 9/11 conspiracy theories. Dean insists that any reestablishment of a vital and purposeful left politics will require shedding the mantle of victimization, confronting the marriage of neoliberalism and democracy, and mobilizing different terms to represent political strategies and goals.

“Reality Squared develops the scholarly discussion of the aesthetic of realism, documentary conventions, and modes of television broadcasting, in sophisticated new directions.  Friedman’s historical perspective is especially valuable since so much discussion of the new aesthetic of realism on television fails to take into account similar trends throughout television history.”—Ellen Seiter, professor of communication, University of California at San Diego

“Reality Squared offers a rich variety of insights into the way television and new media make us believe in the worlds they represent. Spanning across the decades of early live TV to contemporary digital culture, this volume is an important history, not only of media but alsoof our perception of reality itself.”—Lynn Spigel, University of Southern California and author of Welcome to the Dreamhouse 

Through the 1980s and 1990s, the television industry and its critics have identified and promoted the re-emergence of “reality-based” television. During the past two decades, this type of programming has come to play a major role in both production decisions and network strategy. At the beginning of the twenty-first century, viewers’ desire for “reality TV” shows no signs of diminishing, as evidenced by the meteoric rise of shows such as Who Wants to be a Millionaire, Survivor, and MTV’s Real World. 

Although debates concerning the relationship between representational media and reality have occupied scholars and artists for quite some time, a surprisingly small number of books have examined this subject. As the title suggests, Reality Squared examines the representation of reality within the squared televisual viewing frame, as

well as the exponential growth of these representational programs on broadcast, cable TV, and even beyond, to the worldwide web. The contributors approach the issues surrounding television and reality from a wide range of theoretical and methodological perspectives. Topics include: the internet, the impact of global news events, weather predictions on the Weather Channel, and the representation of criminality on America’s

Most Wanted. This diverse volume contributes to the ongoing conversation about reality and representation, history and fiction, text and context, and the “inside” and “outside” of that box we call television.