1. Introduction

Postmodernism and consumerism are two important features of contemporary society. Postmodernism emphasizes the dominance of symbols, codes and simulacra, and the boundary between the real and the virtual becomes blurred, with people living in a hyper-real world constructed by media. Consumer society is centered on consumption, and what people consume is no longer the use value of objects, but the symbols-objects mediated by symbols, which constitute an active structure that dominates and produces people's needs and desires. In a consumer society, consumption becomes a means of social stratification and compartmentalization, and the signifier of difference becomes the main object of consumption.

Baudrillard inherited Marx's critique of the capitalist mode of production, but extended it to the realm of symbols and media, proposing a “critique of the political economy of symbols”. Baudrillard argues that the relations of consumption in modern capitalist societies are based on a mode of exchange of symbolic values that masks class antagonisms and economic inequalities in society. Needs and desires in consumer society are ideologically created illusions, and the subject and object of consumption are deflated in a system of symbolic differences. Baudrillard's critique of Marxian political economy lies not only in the analysis of the economic base, but also in the revelation of the role of symbols and media in modern society. Baudrillard's theory of media is an important part of his critical theory. He argued that modern media constructed a simulated world through coding rules and communication technology, making modern society a society dominated by media. Not only does the medium influence people's lifestyles and perceptions, but it also leads to an indiscernible distinction between the real and the virtual. Baudrillard sees media as the realm of symbolic production and consumption, emphasizing the dominance of media in modern society. He points out that the development of media technology has led to the accelerated reproduction and multiplication of symbols, and people's lives have been inundated with all kinds of symbols, creating a hyper-real social landscape. In this process, people gradually lose the ability to perceive reality and live in the virtual world constructed by the media.

Baudrillard's theory puts forward a unique media theory in the context of postmodern society and consumer society, through the inheritance and development of Marx's critique of political economy, revealing the dominant role of symbols and media in modern society and their far-reaching influence on contemporary society.

2. Symbolic value and simulacra

2.1. Political economy of the symbolic

Baudrillard argues that consumption relations in modern society are based on an exchange model of symbolic value that masks class antagonism and economic inequality in society. Commodities in modern society have not only use and exchange values, but also symbolic values, and these symbolic values play a dominant role in the consumption process [1].

Baudrillard's critique of traditional political economy focuses on removing the myth of demand. The concept of demand in traditional political economy is a myth; demand is not natural but constructed by symbols and media. Baudrillard criticizes Marx's theory of use-value, arguing that the fetishism of use-value is a low-level referential fetishism, behind which lies the game of able reference. Baudrillard suggests that the fetishism of modern society is no longer associated with physical things, but with symbols. The subject is caught up in a false, differentiated, encoded, and systematized object, and this fetishism controls both the object and the subject, subjugating them both to itself. Baudrillard argues that to truly transcend symbolic value, one must return to the logic of symbolic exchange. In symbolic exchange, the object or any other value returns to nothing, and only by setting its meaning through continuous interactive exchange can it escape exchange value.

The principle of difference means that the production and exchange of symbolic value is based on the differences between symbols, not on their intrinsic use or exchange value. In modern society, the value of symbols is not determined by their own attributes, but by their position in the symbol system and their difference from other symbols [2]. In the consumer society, consumers express their identity and status by purchasing and using different brands and products. The symbolic differences of brands and products become the main object of consumption. For example, consumers who buy high-end brands want to show their social status and economic power through these brand symbols. The media attracts viewers by constructing different symbol systems. For example, different TV programs, movies and advertisements convey different values and lifestyles through different symbols and narratives. The difference between these symbols enables viewers to choose content that matches their identity and interests. The principle of difference reveals the illusory nature of symbolic values in modern society. The differences between symbols are artificially exaggerated to create desire and demand for consumption. This principle of difference not only masks economic inequality in society, but also exacerbates social divisions and fragmentation. For example, the difference between brands makes consumers divided into different social classes, and consumers of different classes express their identity and status by purchasing different brands, thus exacerbating social inequality [2].

Symbolic exchange refers to a non-economic exchange behavior, which is not based on the exchange of equal value, but the exchange through gifts, festivals and other forms of exchange. In symbolic exchange, things or other values are returned to nothing, and can only escape exchange value by setting their meaning through continuous interactive exchange. Gifts exchanged during festivals, charitable events, and art exhibitions can all be considered forms of symbolic exchange. These behaviors are not only the exchange of materials, but also the transmission of social relations and cultural meanings. During festivals, people express their feelings and respect for others by exchanging gifts. The value of these gifts lies not only in their material value, but also in their symbolic meaning. Symbolic exchange offers a possibility to go beyond symbolic value. Through the act of symbolic exchange, people can restore the true nature of things, break the monopoly of symbolic value, and build a more equal and democratic society. Through charitable activities and art exhibitions, people can transcend material exchange and restore social equality and democracy. These symbolic acts of exchange can not only break the monopoly of symbolic values, but also restore the sense of community in society and promote the harmonious development of society [3]. Baudrillard's critical theory of symbolic political economy provides a new perspective for us to understand the phenomenon of symbols and media in modern society. By criticizing the myth of demand and energetic fetishism in traditional political economy, Baudrillard reveals the dominance of symbolic value in modern society. The principle of difference and symbolic exchange are two important logics in the operation of symbolic value; the former reveals the illusory nature of symbolic value, while the latter offers a possibility to go beyond symbolic value. Future research can further improve and develop on this basis to better explain the complex phenomena of modern society.

2.2. Simulacra and Media Technology

Simulacra is Baudrillard's profound analysis of the relationship between symbols and reality in modern society. It refers to a kind of “hyper-real” world constructed through symbols and models, which is detached from the image of real origin. In this state, symbols no longer point to reality, but to other symbols, forming a self-referential system. Baudrillard divided the development of simulacra into three stages: the imitation stage (simulacra) - from the Renaissance to the beginning of the Industrial Revolution, simulacra appeared in the form of “imitation”, and the link between symbols and referents was not yet completely broken, but the separation of energy and reference began to appear. The link between symbol and referent was not yet completely broken, but the separation of reference and energy began to appear. Production Stage (Era of Mechanical Reproduction) - In societies dominated by industrial logic, simulacra enters the production sequence, with a large number of commodities reproduced from the same model, and the analogical relationship between objects is replaced by a serial, undifferentiated relationship. Anthropomorphic stage (hyperreal) - In the computer-based era, anthropomorphic images are constructed through binary coding and digital technology to create a virtual world that is more “real” than the real. Symbols are abstracted from the realm of the sensory and physical to the realm of abstract logic, and the real is manipulated by models and codes [4].

Media technology is the central tool for the generation and dissemination of simulacra. In the digital age, media such as television, movies, the Internet, and social media have shaped the audience's perception of reality through the dissemination of a large number of mimetic images. The spread of simulacra leads to the implosion of society, i.e., the increase of chaos and disorder in society and the disappearance of difference and diversity. In the simulacra stage, media technology constructs a highly mimetic virtual world in which people are so immersed that it is difficult to distinguish between the real and the virtual. For example, the development of virtual reality (VR) and augmented reality (AR) technology enables people to immerse themselves in a highly anthropomorphic virtual world, and this immersion not only changes people's way of perception, but also affects their social behavior and psychological state. Surrounded by anthropomorphic images, people's daily lives are dominated by the “hyperreal”. Hyper-reality refers to a virtual world that is more “real” than the real, constructed through models and codes that mask the passing of reality. For example, Disneyland is a classic case of hyperrealism, which masks the passing of reality by constructing a highly realistic virtual world that makes visitors believe it is a real place [5]. Baudrillard's theory of hyper-reality reveals the blurred border between reality and virtual in modern society. Imagery constructs a world that is more “real” than the real through models and codes, making it difficult for people to distinguish the real from the virtual. This blurring not only masks the disappearance of reality, but also exacerbates the division and fragmentation of society.

Baudrillard criticized the control of media technology over human thought and consciousness. By spreading a large number of simulacra, media technology shapes the audience's perception of reality, making it difficult to find a balance between the virtual and the real. Media technology not only spreads information, but also constructs a virtual reality through symbols and images, and these simulacra replace reality in the minds of viewers. The spread of simulacra leads to the implosion of society, i.e., the increase of chaos and disorder in society and the disappearance of difference and diversity. This implosion makes the structure and order of society blurred, and people find it difficult to find a balance between the virtual and the real. In the hyper-real world, the subject is deconstructed and the individual subject loses its most fundamental corroboration. People are no longer real actors, but dual agents of virtual existence. In the operation of mimetic strategies, the public is increasingly dominated by the power of technology and becomes a physical element in the field of the “hyperreal [6]. Baudrillard's theory of simulacra and hyperreal provides a profound critical perspective for us to understand the phenomenon of media technology in modern society. By revealing the rootlessness, hyper-reality, and implosion characteristics of simulacra, Baudrillard criticizes the control of media technology over human thought and consciousness, as well as its destruction of social structure. Future research can build on this foundation to further explore the specific manifestations and effects of simulacra in different media technologies to better understand the complex phenomena of modern society.

3. Seduction and Femininity

3.1. Body and Female

In Baudrillard's theoretical framework, the body and womanhood are two significant dimensions of study. The body is not only a material carrier of socio-cultural constructs but also a manifestation of symbolic exchange and social relations. Meanwhile, women play a unique and complex role within consumer society and the system of signs. This section will explore Baudrillard's breakthroughs regarding women and gender differences, the relationship between fashion and the female body, and the operation of the object strategy on the female body.

Baudrillard argues that in modern society, gender differences are gradually being effaced. Within the consumer society, gender is no longer a fixed binary opposition but has become a function that can be transformed and simulated. This effacement is evident not only on the physiological level but also, more significantly, on the socio-cultural level. For instance, through plastic surgery and fashion consumption, women are progressively blurring the traditional gender characteristics. In Baudrillard's theory, the female body is symbolized and commodified, becoming a tool for social exchange. This process of symbolization not only reinforces gender inequality but also further obscures gender differences. The female body is endowed with exchange value, becoming a symbol that can be consumed and displayed.

Baudrillard notes that although women have gained more freedom and rights in consumer society, this liberation is actually controlled by the system of signs. Women, through the consumption of fashion products and participation in social activities, seemingly have more choices, but in reality, they fall into a deeper state of alienation [7].

Women are shaped by the system of signs into an "object woman." This process of objectification not only deprives women of their subjectivity but also turns them into symbols and tools within consumer society. Fashion is not merely an external decoration but also a carrier of social symbols and cultural meanings. In consumer society, fashion, through advertising and media, constructs an idealized image of women, guiding them to pursue perfect appearance and physique. Fashion advertisements, by displaying perfect figures and luxurious lifestyles, create a world that is "more real than real." This hyperreality not only conceals the actual function of commodities but also transmits an idealized social reality through the circulation of signs. The female body is symbolized in fashion consumption, becoming a tool for social exchange. By purchasing specific brands of fashion products, women can obtain symbols of social status or identity. Fashion consumption is not just the purchase of goods but also the consumption of signs. Consumers, through the purchase of fashion products, acquire symbols of social identity and cultural meaning [8].

Baudrillard's theory of the "object strategy" posits that objects, through infinite proliferation and extreme logic, achieve a rebellion and revenge against the subject. On the female body, this strategy manifests as women gradually losing control over their own bodies through the consumption of fashion products, becoming "object women" controlled by the system of signs. The object strategy, through seduction and symbolization, turns the female body into a symbol that can be consumed and displayed. This process of symbolization not only deprives women of their subjectivity but also turns them into tools within consumer society. Although women are alienated by the system of signs in consumer society, Baudrillard also points out that women can regain control over their own bodies by resisting the system of signs. This resistance is not only reflected in the reflection on fashion consumption but also in the critique of the social system of signs. Women can redefine their own identities by rejecting the temptation of the system of signs, thereby achieving resistance to the object strategy [9].

3.2. Seduction and the Object Strategy

In the later works of Baudrillard, "seduction" is not only a core concept but also a strategy that subverts the traditional subject-object relationship. Through "seduction," Baudrillard attempts to realize a new revolutionary strategy in modern society, one that no longer relies on traditional subjectivity but achieves criticism and transformation of modern society through the victory of the object. This paper will explore the concept and characteristics of "seduction," the relationship between seduction and media, and the reversal of the subject-object relationship through seduction.

Baudrillard's concept of "seduction" has unique connotations and characteristics. "Seduction" is a game of appearances, emphasizing superficiality and non-reality. It attracts and influences the subject through the function of signs and rituals, rather than by revealing hidden truths or essences. This superficiality gives "seduction" great power in modern society, as it can attract and influence the subject through surface interactions. "Seduction" is reversible. In the logic of seduction, the relationship between the seducer and the seduced is bidirectional. This interactivity makes "seduction" a powerful subversive force. The seducer attracts the seduced through appearances and rituals, and the seduced can also influence the seducer through counter-seduction. This bidirectional interactivity gives "seduction" great flexibility and subversiveness in modern society. Finally, "seduction" is inevitable. It is a kind of fate, opposed to the logic of production. The inevitability of seduction lies in its ability to subvert traditional production logic and rational order through appearances and rituals to achieve its goals [10].

Baudrillard regards media as an autonomous system of signs, rather than merely a technical means. In the simulacral society, media, through the rampant proliferation and self-replication of signs, control and influence the subject, leading to the loss of the subject's position. The symbolic production function of media is closely related to "seduction." Media attract and control the subject through appearances and rituals, thereby achieving social control. In On Seduction, Baudrillard points out that the simulacral nature of media blurs the boundary between reality and appearances, and the subject gradually loses its autonomy and control in the simulacral world. Media, through the production of simulacra, create a state of hyperreality, which attracts and controls the subject through appearances and rituals. Therefore, media are not only tools of "seduction" but also the subject of "seduction," achieving social control through the interaction of signs and rituals [11].

4. Conclusion

"Seduction" as an important concept in Baudrillard's later theory not only reveals the reversal of the subject-object relationship in modern society but also provides a new revolutionary strategy. By emphasizing the victory of the object and the disappearance of the subject, Baudrillard attempts to subvert and transform traditional power structures in modern society. Although this strategy is theoretically innovative, it also faces challenges and limitations in practice [12]. From the perspective of media sociology, the debate between Baudrillard and Enzensberger on media theory reveals the profound divergence between technological and cultural paths in the mediatized society. Enzensberger, starting from the Frankfurt School, emphasizes the ideological nature of media technology, arguing that media are not only tools of communication but also representations of social relations. By developing the concept of the "consciousness industry," he points out that the revolutionary nature of media technology lies in its potential to become a production tool for the masses, thereby promoting social structural change. However, Baudrillard argues that the "evolution" of media technology is a symbolic practice of simulation replacing the authentic, ultimately leading to the loss of human authenticity. He criticizes the explanatory power of traditional media theory and advocates restoring authentic communication through symbolic exchange [13].

This debate not only reflects the two paths of media theory research—technological and cultural—but also suggests that we need to re-examine the balance between these two paths in the mediatized society. With the acceleration of technological iteration and the deepening of media penetration, the driving force of the mediatized society lies in our own transformation into the media of social reproduction. As we use media technology to achieve reproduction, we are also producing media culture. Therefore, future media sociology research should go beyond the binary opposition of technology and culture, exploring the interactive relationship between media technology and socio-cultural constructs to better understand the emergence and development of the mediatized society.

Koch argues, “Jean Baudrillard’s concept of “symbolic exchange” represents an important concept in understanding why Marx’s prediction regarding the collapse of capitalism has not been realized. Baudrillard adds to the Marxian concepts of use value and exchange value, suggesting that, in today’s consumer-oriented society, commodities take on a symbolic value that constitutes their status and, therefore, power.” [14] In traditional subject-object relations, the subject occupies a dominant position, while the object is defined and controlled by the subject. However, Baudrillard, through the concept of "seduction," subverts this traditional subject-object relationship. In the logic of seduction, the object gradually takes the dominant position through the interaction of appearances and rituals, while the subject loses its authority and control. This reversal of the subject-object relationship makes the object an independent and autonomous existence that can influence and control the subject through seduction. In the logic of "seduction," the object is no longer a passively defined object but actively influences and controls the subject through the interaction of appearances and rituals. This reversal of the subject-object relationship not only subverts traditional power structures but also provides a new revolutionary strategy for modern society.