Commodification and Amusement: Postman on Television and Print Media

Recently, I finished reading Neil Postman’s Amusing Ourselves to Death. While this work was published in the 1980s and focuses on analyzing the effects of the rise television as the dominant mode of communication on public discourse, it still raise many insightful points. Postman’s central argument is that the typographic age of the 18th century (the age of the printed word) was able to foster rational argument, and a healthy democratic discourse while the age of television fails in this regard as we are bombarded with incoherent mixed messages, information for information’s sake and even when television tries to be serious it fails, because even the most serious program must be entertaining. Television as a medium cannot escape from the fact that it is a vehicle for amusement or entertainment. All of these points seem to me to be more or less valid, but Postman fails markedly in describing the way that print media and television both are connected to the logic of commodification. Thus his analysis is insufficiently historical as it takes two points in history and connects them without fully establishing the relation of these historical eras to one another.

Postman does provide a historical explanation of sorts, as he points to telegraphy and photography as forerunners that began the march towards television. Telegraphy conquered space and allowed messages to be shared across far distances very quickly and easily, while photography moved the focus away from the printed word and onto the image. But unfortunately this is merely a technological explanation; it just shows that there were other technologies that arose before television that made the way for it, but it does not show why the general technological trend towards conquering space and the image themselves replaced the printed word. This would be analogous to explaining the rise of automobile merely by reference to the horsedrawn carriage, but without asking why human beings have desired to have vehicles that move them from one place to another as quickly as possible. Consequently, while he gestures towards a historical explanation he does not go into enough detail in showing the relation between the rise of print media and the rise of television.

One important factor that unites the development of print media and television that Postman does not discuss is the logic of commodification. The logic of commodification renders all things whether tangible or intangible into objects that can be bought and sold on the market. This logic seems to be built into capitalism itself as more and more objects, ideas and practises are transformed into something that can be sold at a profit. The idea of selling bodily fluids would be unheard of in the 18th century for numerous reasons while today this is a common practise in the USA. The rise of the commodification of bodily matter cannot be disconnected from the rise of print media and television as a dominant mode of communication, as both are linked to an overarching trend in which all relations must be modeled on the relationship between commodities and buyers and sellers.

One way in which Postman fails to identify the link between the logic of commodification and the emergence of television is that Postman compares the typographic medium with television as if they were polar opposites, rather than seeing that the development of the medium of print is a forerunner to the development of television in that television serves to further entrench the logic of commodification that print itself had already served to entrench.  This can be seen in the way that Postman unequivocally praises print media for its rationality while decrying all television as a mere tool for amusement; he clearly does not identify any link between the two in terms of their relation to commodification, but sees them in an almost binary fashion. However, the link between the two forms of media are quite evident as while print media in the 18th century may have had a seriousness that much television does not have, it was still a commodity. Before print, mass copies of communications could not be created and so the idea of selling communication products as a commodity to the masses made no sense. It was only after the emergence of the printing press, and written communications could be produced on a mass scale that the idea of selling communications about the events of the day as a commodity began to make sense. Before the printing press the clergy largely was occupied with maintaining knowledge through the activities of scribes and others. These groups would maintain collections, but these collections were merely a store of wisdom for the limited few with access to them, rather than a source of information to sell to people. In this sense while there are many qualitative differences between print media and television there is a deep connection between the two because they both are part of an overall development in capitalist society towards the ever growing reach of commodification.

Furthermore, if we compare television to typographic media we see the way in which television further entrenched what print media had begun to entrench. As we just noted typographic media like any other can be bought and sold, and it was bought and sold during the 18th century when it was at its peak, but because typographic media was still rooted to a particular place because of the absence of technologies like the telegraph it was not a fully mass produced commodity. In the 18th century the news in Pennsylvania covered events relating to life in that area, and in this sense information about the context of life in Pennsylvania was bought and sold, but information about life in this area was not sold to those in Copenhagen as a commodity, as there was no simple means of getting the information to Copenhagen quickly. Consequently, the sale of the information was geographically limited. Postman notes the way in which news was confined to a context of life in the typographic age, but he does not note that the decontextualization of news so that it can be sent anywhere on the world is part of the overall logic of commodification that extends from the initial step of commodifying information for sale. The movement to wider distribution of news as commodity was made possible by the telegraph, but the reason the telegraph and television caught on as an important technology for distributing news was because of the already existing historical trend towards commodification of information that the printing press had served to establish. It is somewhat doubtful that the news of the day would have become the commodity for global consumption that it has become today if print media had not already transformed information into a commodity for sale to a mass audience. Consequently, the telegraph and television merely took the logic of commodification in communications to a further limit.

Despite all that I have said above, I still think Postman’s book is worth a read, but I wish he would have spent more time discussing the way in which typographic media and television are part of the same historical trend, rather than fixating merely on the ways in which they are different. By taking this step he would have been better able to show the roots that underlie both developments.


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