Archival Domination in Fahrenheit
451
Joseph Hurtgen
Ball State University
Abstract
This essay will discuss how the
state in Ray Bradbury’s Fahrenheit 451 (1953) uses new media as a tool to create
passive, surveilled subjects, entertained by programs engineered to embed state
ideology into the viewer. In the 1950s, television—a machine for reproducing
state and corporate ideology—threatened to replace the written cultural archive
with a presentist modality. The written cultural
archive of Fahrenheit 451 is constituted by works Bradbury posits can
overcome institutionalized prejudices of race, class, and gender. The
inaccessibility of this written cultural archive, the isolation, and loss of
individuality the populace experiences reflect how much denizens of Bradbury’s
world are willing to sacrifice to gain access to gain access to a media archive
of momentary pleasures. By turning the car into a measure of class and success,
corporations have also succeeded in splintering a sense of community that might
otherwise encourage intelligent discourse in public spaces. The written word once
carried arguments formulated in the public sphere to private spaces, but now wall-to-wall
screens dominate private spaces, reinforcing state ideology in homes as if they
were public spaces. Fahrenheit 451 maps
both the shift from reliance on the written word to the emergence of the
televisual archive as the primary site of a society’s archive and that archive’s relationship to corporate
and state powers seeking maximum control over the population. Though modern technology evolves by the day, Bradbury’s Fahrenheit 451 remains a touchstone in discussions of social
anxieties and replaced cultural archives in science fiction.
Keywords: Ray Bradbury, Fahrenheit 451, archive, surveillance,
ideological state apparatus, television
“The usual vantage point from
which we talk about the archive—at
least from a
European cultural point of view—is still the notion of the print-based, paper-formatted archive. The media-archaeological
task, then, is to rethink archival
terminology in order to embrace a multimedia concept of the archive. The book belongs to the first external memory
devices through which culture as memory based has
been made possible, but the book now
has lost its
privilege as the dominant external memory of alphabetic knowledge. Europa is still fixated on the book, that is, the library and
archive; in contrast,
the media
cultures in the United States have already cultivated a culture of permanently recycling data rather than eternally fixed
memories.”
—Wolfgang Ernst, 2013, p. 122
Ray Bradbury’s Fahrenheit 451 (1953) reflects the anxiety
of the early 1950s about the ascendency of television and reflects the fear
that new technologically-backed media might supplant books and be used as a
mechanism for state and corporate-based social control of American society.
Television was profoundly linked to the present in Bradbury’s day—television
shows weren’t recorded for repeat broadcasts until 1951—and its rise invoked
discussion of more than just media usage. The emergence of televisual media and
the interlinked media feed created a shift from a cultural archive composed of
books promoting an egalitarian society to a commercialized, televisual archive
that manipulated its viewers to generate sales and disseminated messages of
discipline to ensure obedience to the state. Ideology is embedded in Fahrenheit 451 in archives that are not
merely the written, stored record; ideas and behaviors are archived in the
population. Bradbury’s novel thus presents the real possibility that corporate
and state powers might coopt televisual media to remove independent thought and
personal agency from viewers to more easily control them. This essay analyzes the
state’s use of new media to create passive, surveilled subjects, entertained by
programs that embed state ideology.
Fahrenheit 451 is set in a futuristic America where firemen
burn books rather than putting out fires and everyday citizens consume
audiovisual media rather than exploring the world around them, reading books,
or thinking for themselves. Guy Montag, a fireman, lives in a house with his
wife Mildred, who constantly watches televisions that take up entire walls.
Montag encounters Clarisse, a teenage girl who forces him to begin questioning
the world around him through her strange free-thinking questions, but a few
days later, a speeding car hits Clarisse and kills her. This, when combined with the fact
that Montag watched an elderly woman opt to be burned alive with her books,
made him create his own cache of books and begin reading. Mr. Faber, a retired
English professor Montag once met in passing, agrees to help Montag continue
reading and to eventually overthrow the status quo by printing books. Mildred
informs Montag’s boss, fire chief Beatty, about Montag’s strange behavior and
that Montag has been reading books rather than burning them. Mildred abandons
her husband and Beatty ultimately confronts Montag, forcing Montag to burn the
books he has collected and his own house. Montag turns his flamethrower on
first Beatty, killing him, and then destroys the Mechanical Hound, a mechanical
dog capable of delivering a lethal injection, before fleeing to Faber’s house.
Faber helps Montag, providing him with tips to escape the other Mechanical
Hounds, the helicopters, and the television crew pursuing him. Though Montag
does escape, the authorities televise a lethal injection performed by a
different Mechanical Hound on another captive forced to serve as Montag’s
replacement for the viewers watching the live broadcast. Montag flees into the
woods, where he meets a group of men who have memorized books to preserve them
for future generations. The group, led by a man named Granger, welcomes Montag
and gives him a book to memorize. At
the end of Fahrenheit 451, a nuclear attack destroys the city from which
Montag escaped, and he chooses to help the scholars use their knowledge to
rebuild their civilization.
Control via archival imprinting (i.e. the writing onto the body and mind),
entraps subjects through internal manipulation. In Fahrenheit 451, this action is derived from media and technology,
or more specifically, the television screen. Robert Wilson (2013) sees no
escape from such manipulation whether in the form of government ideology or
corporate advertisements. He maintains that “an individual’s identity and
agency” are “hopelessly intertwined with the countless, contradictory media
that have colonized his or her mind” (Wilson, 2013, p. 16). Bradbury
demonstrates that televisual media does more than colonize individuals, as it
is not unnecessary for the state to carry out surveillance of subjects by
recording their movements and watching them on-screen. By regularly viewing
television, the citizens of Fahrenheit
451 become obedient and passive reflections of what they view and hear.
Book burning in Fahrenheit 451
ensures that government controlled televised programs that surveil, entertain,
and interpellate are the only remaining media sources
available to citizenry. The television presents an archive of acceptable ideas
and behaviors for citizens and displays the results of failing to follow
protocol. When viewers are alerted that an execution is about to take place
during Montag’s nocturnal flight from the Mechanical Hound, they wake to view
it. There are no regulations against not watching the execution, just as there
are no requirements to having television screens in the home. The populace
wakes to watch the execution because it is—as Montag narrates—a kind of
carnival, an entertaining spectacle masking its political use as a tool of the
state.
Montag’s flight and pursuit
symbolize the presentist television archive’s threat
to destroy the historical archive of books in Montag’s world. Broadcast to the masses, this
entertaining spectacle guarantees viewers that civil disobedience results in
severe punishment. Montag’s punishment serves as entertainment, entertainment
that communicates those rules of behavior expected from the totalitarian state.
Thus, entertainment is disguised as interpellation. Public discipline in Fahrenheit 451 comes as a consequence of
accessing the banned literary archive, an act of resistance against the
state-supported archive. The goal of discipline is to punish these offenders,
with televised spectacles serving as forceful displays of the rule of law.
Televising Montag while the Mechanical Hound pursues him through the streets
acts as a surveillance mechanism, changing private spaces (homes) into public
arenas. As Montag flees through their streets, the viewing society watches his
efforts televisually. Even though they could open
their windows and doors to witness the action, the state program incites
viewers to first watch the screen to ensure a mediated experience. Viewers are later commanded to open their doors
and peer into the streets so that Montag has no safe hiding place. The citizens
are so indoctrinated that they do not turn from the mediated view of the screen
until the government demands they do so. The program allows the state to feed its viewers an
interpretation of the event sympathetic to its aims. For instance, even after
Montag destroys the first Hound sent after him, a second Hound is sent out and
the televised program remarks that the “Mechanical Hound never fails. Never
since its first use in tracking quarry has this incredible invention made a
mistake” (Bradbury, 1953, p. 112).
The first Hound fails and is destroyed, but in replacing the first mechanical
Hound with another, the state makes good on its claim that the Hound does not
make mistakes. With continued replacements, one of these machines will
eventually find its mark and affirm the foolishness of resisting the state.
Montag notes that if he were to open a window he would be able to watch his own
death on the screen:
If he kept his eye peeled quickly
he would see himself, an instant before oblivion, being punctured for the
benefit of how many civilian parlour-sitters who had
been wakened from sleep a few minutes ago by the frantic sirening
of their living-room walls to come watch the big game, the hunt, the one-man
carnival. (Bradbury, 1953, p. 125)
With Montag’s realization that he
could be simultaneously executed in the house and on the screen, he
demonstrates that the perceived safety from viewing is false: Montag realizes
that private and public spaces have merged together. Viewers choose a
technological view over a non-mediated experience, believing the screen acts as
a barrier from violence, both on and off-screen; viewers, it is believed,
cannot possibly become participants. Montag’s realization demonstrates that
watchers are very much participants. By engaging with the new media the
population is simultaneously made passive by fear of the repercussions of
acting against the state and becomes incapable of intervening in the creation
or destruction of different archives.
Television viewers in Fahrenheit 451, relieved that their plight
is not that of the criminal hunted and butchered in the streets by the
Mechanical Hound, feel removed from the oppressive system in which they live.
While the Repressive State Apparatus provides a distraction from oppression, it ensures that people are aware of the state’s power and produces
both conformity and obedience. Though Montag eludes the police, a substitute
for Montag receives the robotic Hound’s lethal injection so that the state can
reinforce to the public that no one escapes state discipline. At the same time,
viewers are cognitively distanced from the reality that they could easily
replace Montag. The idea of the Hound as an
internal surveillance mechanism is also implied in the actions of the firemen
who remove and burn books found in citizens’ homes and in Mildred’s decision to
separate from Montag and inform his book reading to the police rather than live
in a house with books. The Hound, the firemen, and Mildred embody those
penalties associated with breaking the law, rules that citizens acknowledge and
embrace. Entertainment qua punishment is a grander scale of old
forms of public punishment as spectacle like the auto-de-fé,
public hanging, or guillotining. Louis Althusser describes public punishment as
part of the “Repressive State Apparatus” (2014, p. 76) and Baudrillard
argues that these displays provide a distraction from other, subtler
oppressions (1994, p. 85).
A direct result of the four-wall televisors in Fahrenheit 451 is increased
inaccessibility to the cultural archive, which Bradbury believes will result in
a loss of individuality. In the 1950s, technological and informational
advancements, which were facilitated by the emergence of television, created
cultural change in United States that gave rise to postmodernity. Television in
Fahrenheit 451 filled the space of
public consciousness, space that had previously been taken up by reading and
social interaction. Those books—authored by diverse writers such as Edna St.
Vincent Millay, Harriet Beecher Stowe, Plato, Einstein, Confucius, Gandhi, and
the Gospel writers of the New Testament—make up Bradbury’s canon of social
equality, works linked together by an interest in overcoming institutionalized
prejudices of race, class, and gender. The erasure of the written archive is
connected to the loss of the subject’s identity; Fire Chief Beatty verbalizes
this idea when he connects physical death to burning: “Ten minutes after death
a man's a speck of black dust. Let's not quibble over individuals with memoriams. Forget them. Burn them all, burn everything” (Bradbury,
1953, p. 58). In The Cultural Turn: Selected Writings on the Postmodern (1998), Fredric
Jameson lists the factors that have erased subject identity: “Today, in the age
of corporate capitalism, of the so-called organization man, of bureaucracies in
business as well as in the state, of demographic explosion - today, that older
bourgeois individual subject no longer exists” (1991, p. 5). “The organization
man”— an idea developed by William H. Whyte in The Organization Man (1957)—proposes that Americans have become
largely collectivist in practice rather than individualistic, preferring
organizations to make decisions as a result of pressures associated with living
in a cooperative society (p. 13). As exemplified in The Organization Man and Fahrenheit
451, Whyte and Bradbury
demonstrate their awareness of the same trends in society. A citizenry of
addicted viewers in Fahrenheit 451 demonstrate
the presence of the novel’s organization man society, divesting themselves of a
valuable cultural archive as a result
of dominating and manipulating televisual media. In Fahrenheit 451 Bradbury maintains that watching television and
listening to radio are less thought-provoking and convey less detailed
information than reading, and thus, by extension, these means of
information-sharing are less effective educational tools than reading: “The
same infinite detail and awareness [of books] could be projected through the
radios and televisors, but are not” (1953, p. 82).
This perspective that books are unparalleled in conveying details describes the
state of mediatic technology as Bradbury saw it in
the 1950s as a deliberate strategy for broadcasting programs that engender the
populace to being easily controlled, passive consumers. The mediascape
provides collective decisions for every facet of life, answering how one should
behave, what one should eat, wear, speak, and think. Montag’s wife Mildred
lives for her interactive programming, where she responds to television actors
from a prepared script. This interaction reflects collectivist embodiment and
signals the death of individuality, with Mildred’s loss of identity culminating
in an attempted suicide via overdosing on pills. In contrast, Montag’s mark of
individualism in a media-driven society is indifference toward television flow
and the ability to make decisions without regard for larger organizations of
society.
Television consumes and impacts
both individual and public consciousness in Fahrenheit
451, as evidenced by the isolation
and loss of individuality of women in Montag’s world, particularly Montag’s own
wife, as they choose to belong to a collective, television culture.
Mildred is a housebound, middle-class and suburban housewife with nothing to do
but watch TV. Bradbury was not alone in recognizing the effect that suburbia
and televisual culture took on women—ten years after Fahrenheit 451, Betty Friedan (1963) characterized suburbs as
“comfortable concentration camps” for women (p. 426). With little more to
interact with than television, Mildred comes to bodily reflect the pacing of
television shows as a result of her viewing:
The door to the parlour opened and Mildred stood there looking in at them,
looking at Beatty and then at Montag. Behind her the walls of the room were flooded
with green and yellow and orange fireworks sizzling and bursting to some music
composed almost completely of trap? Drums, tom? Toms, and cymbals. Her mouth
moved and she was saying something but the sound covered it . . . The fireworks
died in the parlour behind Mildred. She had stopped
talking at the same time. (Bradbury, 1953, p. 59)
The television display not only
inhibits Mildred from effectively communicating, but televisual media has
literally colonized Mildred’s speech, as evidenced by the fact that Mildred
stops talking in time with the frenetic sounds of the television, which also
demonstrates her closer relationship to television than people, including her
own husband. Television viewers receive a set of lines to say during shows so
they might more actively participate in the television programming and thus ultimately
enter into a collective televisual identity. The words Mildred speaks are her
part in the interactive television program. Regardless of what Mildred says,
she cannot contribute to Beatty and Montag’s conversation as a result of being
trapped too long in suburban isolation. Commenting on the effects of media
overexposure, Scott Bukatman (1993) stresses that
viewing media results in the emergence of a new subjectivity characterized by a
loss of individuality and agency (p. 15). Mildred’s lack of agency condemns her
to a life of terminal subjectivity, passively consuming television shows
because she is no longer capable of taking part in other types of social engagement.
Mildred trades individuality for access to the archive—media
feed coupled with momentary pleasures available as a result of a
corporate-engineered consumer culture. Manipulated by corporate media, Mildred
embodies the perfect image of the consumer. In “Mass Exploitation and the
Decline of Thought in Ray Bradbury's Fahrenheit
451,” Rafeeq McGiveron
places responsibility for the formation of a dystopic state on the citizens of Montag’s
world because they voluntarily sacrificed their individual thought for
conformity (1996, p. 248). This implanted desire for easily accessible
momentary pleasures drowns out creative thoughts with constant danger and
competition, demanding attention and, through it, conformity. In Fahrenheit 451, watching televised
athletic events (and other programming), taking drugs, and speeding along in
newly manufactured cars looking for animals or people to run over all satisfy
the need for momentary pleasure. Momentary pleasures are often the easiest pleasures
to attain but this does not imply that momentary pleasures are antithetical to
archives because their full meaning depends on the type of archive discussed.
The corporate and state complex in Fahrenheit
451 relies on an ongoing media feed to suppress the cultural archive. While
the media feed does not eliminate the cultural archive entirely, constant
creation of a present moment archive through televisual media diverts attention
from the original cultural archive. Consumers spend their time in the mediatic
archive instead of in cultural archives so they can learn what products they “should”
buy. Loss of
individuality in Fahrenheit 451 is
further ensured by the Seashell, which constantly broadcasts news and other
programs, keeping viewers tethered to the media feed even while they are away
from television screens. Bradbury describes Mildred’s Seashells vividly: “And
in her ears the little Seashells, the thimble radios tamped tight, and an
electronic ocean of sound, of music and talk and music and talk coming in,
coming in on the shore of her unsleeping mind” (1953, p. 42). Increasingly, as the individual in Fahrenheit 451’s society trades reflective activities like reading
or regular conversation for scripted televisual engagement and endless
immersion in the media feed, the concentration required for more reflective,
personal experiences is eclipsed by a reliance on outside media.
After Montag emerges from his
prior media-controlled state, he realizes both just how much televised media
dominated his life and that he can no longer recall how he first met Mildred. When
he asks her about it, she can’t recall either:
"Millie...?"
he whispered.
"What?"
"I
didn't mean to startle you. What I want to know is..."
"Well?"
"When
did we meet. And where?"
"When
did we meet for what?" she asked.
"I
mean-originally…”
"I
don't know," she said.
He
was cold. "Can't you remember?"
"It's
been so long."
"Only
ten years, that's all, only ten!"
"Don't get excited, I'm trying
to think." She laughed an odd little laugh that went up and up.
"Funny,
how funny, not to remember where or when you met your husband or wife."
He lay massaging his eyes, his
brow, and the back of his neck, slowly. He held both hands over his eyes and
applied a steady pressure there as if to crush memory into place. It was
suddenly more important than any other thing in a lifetime that he knew where
he had met Mildred.
"It doesn't matter,"
She was up in the bathroom now, and he heard the water running, and the
swallowing sound she made.
"No,
I guess not," he said. (Bradbury, 1953, p. 40)
The constant info-stream that
they have been subject to over the course of ten years has erased their
individuality and diminished their ability to remember the past. The televisual
archive has so colonized Mildred’s mind that she views her own personal history
as unimportant, and while Montag comes to value his personal history, his
immersion in the right-now world of televisual media has eroded his ability to
recall his own life events and dulled his capacity for introspection. Mildred
represents the extreme conformist in Montag’s world: her near-constant involvement
in a simulated life has irreparably compromised her individuality. To Mildred,
the only tasks to complete are those with a nexus to the lives of television
characters. Mildred’s emotional and social life is defined by the events and
fictional characters portrayed in audiovisual media and designed not just to
provide amusement but also to benefit the corporate and state alliance that
controls the politico-economic realities of Montag’s world.
Because they were aware of the
suppressed cultural archive, some individuals, such as Professor Faber or
Granger and his book-memorizing followers, never found momentary pleasures and
their associated archives enticing. Aware of the cultural archive that became
suppressed, Faber and other like-minded characters could distinguish between
the two types of archives and therefore value the literary archive for its
cultural merit. By embracing Faber’s beliefs as he learns of a suppressed
cultural archive replete with diverse information, Montag realizes the
artificiality of a televisual archive filled with talking heads and state
executions.
A strategy for state and
corporate control in Fahrenheit 451 is to shape desire through the television
feed. Television broadcasts deliver messages of collective identity and social
norms, which are a new immediate cultural archive and serve as a primary method
through which both the state and corporations establish and maintain control of
viewers. The thoughtful concept of reading books is replaced by a streaming
television feed that holds its audience captive. Faber, who helps Montag
comprehend the scope of changes that have occurred in their society with the
loss of books and thus, the cultural archive, decries the role of the
television:
…you can't argue with the
four-wall televisor. Why? The televisor
is ‘real.’ It is immediate; it has dimension. It tells you what to think and
blasts it in. It must be right. It seems so right. It rushes you on so quickly
to its own conclusions your mind hasn't the time to protest… (Bradbury, 1953,
p. 84).
Indeed, the addicted viewer craves
watching television to experience its pacifying effect, its ability to allow
the viewer to achieve an idealized state of thoughtlessness. In his discussion
of science fiction (SF) tropes in Movement
SF and the Picaresque (2013), Robert Wilson finds “the identity and agency
[of subjects] are being erased by powerful social and economic forces exterior
to and normally imperceptible by the individual” (p. 5). The television
broadcast represents both state-based ideologies and the marketing campaigns working
together to erase their subjects’ identities and agency, usually without the victims
growing aware of what is happening to them.
Before media was beamed across
regions, the written word carried arguments formulated in the public sphere to
private spaces. In Fahrenheit 451,
televisual entertainment in private homes is a controlling mechanism of state
power that threatens a cultural archive of literary works. Readers of the
books, the cultural archive, seek knowledge suppressed by the televised façade
of a determined society and the freedom to question that society. Bradbury
juxtaposes readers with television viewers, who are pacified, exploited, and
controlled by a television spectacle “which functions as either a supplement or
simulacrum of the state” (Bukatman, 1993, p. 69). The
homes of citizens in Fahrenheit 451’s
society have transformed from private domestic spaces into public dissemination
zones for state ideology. In Montag’s home, his wife Mildred is almost
constantly enraptured by the television media feed to the point that Montag and
Mildred cannot have meaningful conversations with one another due to her focus
on television programs portraying raucous, empty-headed characters: “the
uncles, the aunts, the cousins, the nieces, the nephews, that lived in those
walls, the gibbering pack of tree-apes that said nothing, nothing, nothing and
said it loud” (Bradbury, 1953, p. 42).
Likewise, Robin Reid notes Fahrenheit 451
demonstrates “the extent to which technology can be used for social control,
specifically through the use of the mass media for all education and
entertainment” (2000, p. 59). The substitution of new media for books marked a
great cultural shift in America. The new politics associated with this
event-instant televisual archive represents a relinquishing of democratic
values and the loss of individual subjectivity as demonstrated by the
destruction of the cultural archive in Fahrenheit
451. The firemen in Fahrenheit 451
further cripple the integrity of the private, domestic space with their removal
of books from public discourse, thus regulating their society’s intellectual
landscape. In Fahrenheit 451
televisual communications increase the range and effect of state ideology and
make it public. The end result, as Robert Wilson notes, is a skewed “extension
of the media pap-feed” where individuality and agency is lost (2013, p. 6).
Wall-to-wall screens in Fahrenheit 451 also dominate private
spaces, reinforcing state ideology in homes as if they were public spaces.
While citizens once went to central meeting spaces to hear someone speak or
witness some form of discipline, the television in Fahrenheit 451 became a substitute for these areas. This example is
reminiscent of Michel Foucault’s so-called “Discourse on Language” (1972),
where the author discusses a means of social control that isolates individuals
from discourse with each other. In Foucault’s model, discourse flows only
between the source of power and the individual. By removing this capability for
public discourse—and even through eliminating the home as a private
state—Bradbury argues that televisual media has ensured that the only possible
conversations occur between the state (or
corporations) and the average citizen. The final private space that the state
attempts to turn into a public arena is the individual’s mind. If the
individual’s thoughts can be made to reflect the attitudes and policies of the
state, the removal of private space is complete.
In Fahrenheit 451, corporations have succeeded in turning the car into
a measure of class and success and have simultaneously splintered a sense of
community. While the state removes private space in Fahrenheit 451, highways afford the illusion of freedom, privacy,
and isolation: the average citizen(s) can anonymously drive nearly one hundred
miles an hour and run down anyone in their way without risking personal harm to
themselves, as exemplified by the youths that nearly hit Montag as he flees
from the Mechanical Hound. The highways in Fahrenheit
451 reflect newly built
American highways of the 1950s; it was these highways that allowed developers
to build suburbs, providing greater privacy and isolation. When Montag shares with his wife conflicted feelings
about his work, that he would rather read books than burn them, Mildred advises
a solitary drive, reinforcing his status as an outsider:
The keys to the beetle are on the
night table. I always like to drive fast when I feel that way. You get it up
around ninety-five and you feel wonderful. Sometimes I drive all night and come
back and you don't know it. It's fun out in the country. You hit rabbits,
sometimes you hit dogs. Go take the beetle. (Bradbury, 1953, p. 62)
In Fahrenheit 451, the vehicle is but another agency-stealing
technological prosthesis, and the act of driving further isolates the
individual from society. The lack of penalties for killing another human
reduces the ethical responsibility drivers would otherwise feel to their
society, demonstrating a lack of social conscientiousness that would otherwise
prevent such behavior.
In Fahrenheit 451, television blinds society while it dominates
citizens. In Bradbury’s fictional America, the American Dream is to have a
perfect setup to watch television, with rooms walled with floor-to-ceiling
screens that perpetuate a dreamlike viewing experience. But the television’s
dreamlike experience in Fahrenheit 451
coopts the American Dream. David Mogen (1986) observes, “Fahrenheit 451 warns that tyranny and thought control always come
under the guise of fulfilling ideals, whether they be those of Fascism,
Communism, or the American Dream” (p. 107). Like the car, having a home with
wall-to-wall television screens in Fahrenheit
451 is a measure of class and success that only serves to isolate
individuals from society. This need for televisual screens is artificial, just
like the need to drive at high speeds. The television and its programming are a
system of control, emphasizing that the American Dream has been co-opted, made
to serve as a tool of the state ideological apparatus. Owning a television in Fahrenheit 451 is costly, suggesting a
class bias, but—more importantly—Bradbury
highlights that people will willingly pursue their own subjection to enhance their cultural status. At $2,000 a wall, Bradbury’s
wall-to-wall televisions were a major expense to his contemporary readers; by
1960, the average annual family income in the United States was still only
$5,620 (Markham, 2002, p. 325). Citizens in Fahrenheit 451
consider having four screens in a room fashionable; owning a television room
functions as a display of class. The four-television setup would have nearly cost the same as a
house and so would have been impossible for families of lower socio-economic
status to install.
Bradbury’s Fahrenheit 451 maps both the shift from the reliance on the written
word to the emergence of the televisual archive as the primary site of a
society’s archive, and that archive’s
relationship to corporate and state powers seeking maximum control over the populace.
Entering a public sphere of ideas via books—allowing individuals to take part
in wider social discourse—is traded for a manufactured experience of isolation,
including driving alone and faux-interaction with television characters.
Similarly, punishment in Fahrenheit 451
is carried out in the isolation of vacant city streets. Citizens in the era of
the televisual archive live and die in isolation, subjected to a society that
puts death to nonconformists just as readily as it burns books.
Fahrenheit
451 is an iconic example of totalitarian
government and corporate use of changed cultural archives to manipulate people
in SF; the relationship between developing technology and new forms of control in modern society serves as a reminder why
Bradbury’s novel is part of the science fiction canon. Modern SF continues exploring
anxieties about the use of new technology to manipulate the populace and
establish social control in connection with changing cultural archives. In the
1980s and 1990s, SF authors like William Gibson and Neal Stephenson similarly
used science fiction to explore shifting cultural archives, but they shifted
the discussion of types of technology influencing individuals from televisual
media to developing technology like cyberspace—as seen in in Neuromancer (Gibson, 1986) and Snow
Crash (Stephenson, 1992/2008)—and interactive books—represented in The
Diamond Age (Stephenson, 1995/2003). In doing so, these authors imagined
new permutations of social control and human interaction that could emerge and,
thus, also create new cultural archives. Though technology evolves by the day,
Bradbury’s Fahrenheit 451 remains a touchstone in
discussions of social anxieties and replaced cultural archives in modern SF.
References
Althusser, L. (2014). On the reproduction of capitalism: Ideology
and ideological state apparatuses. New
York, NY:
Verso.
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