本文主要以德波的《景观社会》为蓝本，论述景观社会思想，展示独特的批判路径和解读方式。在德波视野中，现代社会不单单是商品生产的社会，更是消费社会，即商品、消费者和媒体疯狂的世界。德波分析并描述当代资本主义社会是“景观的庞大堆聚”，他将马克思的商品化理论进一步深化。“景观”作为景观社会理论的核心范畴，本身是个很复杂的术语，只有通过景观特征的描述才能较为清晰地理解它：景观是对现实的一种遮蔽，是现实颠倒的再颠倒；景观是客观历史性的缺失；是物化的意识形态。德波明确指出景观概念与分离概念密切相关，因为分离是景观发生的现实基础，正是通过分离的四个维度才能实现景观统治的目标，即景观与现实的分离；生产与消费的分离；人与人之间关系的分离；劳动时间与闲暇时间的分离。德波最终的意图是对景观社会的批判和改造，马克思在资本主义市场经济条件下进行的是商品拜物教的批判，德波试图把商品生产的抽象化过程追溯得更远，从而开辟出景观社会独有的影像拜物教批判的新路径。批判是为了变革当下的现实，德波指出：通过“漂移”、“异轨”、“构境”等策略，促成每个个体积极地参与日常生活的建构，以获得更加完善的生存状态。但是，德波的理论和实践仍然存在诸多问题。诸如后期的改造理论转向虚幻的艺术之路，缺乏实践性；较之马克思生产批判的维度，德波对社会的分析单向度化，缺乏对资本主义生产和再生产模式的深入批判。总之，德波的景观社会理论作为一个新的社会批判理论有创新也有局限，关键是要通过阅读该理论为我们更好地理解马克思的批判理论以及重新解读日常生活，提供一种新路径。

This paper mainly based on the society of the spectacle,shows the critical path and the unique way of reading. In the perspective of Debord, the modern society is not just a commodity producing society, it is the consumer society, that is, commodities, consumers and the media are crazy.Debord analyses and describes the contemporary capitalism society as "an immense accumulation of spectacles", he will further deepen Marx’s theory of commercialization. "Spectacle" as the core concept of the theory on society of the spectacle,which is a complex term.Only through the description of spectacle’s features can be more clearly understood it: the spectacle is a kind of masking, which reverses the reversal of the World Spectacle. The spectacle is the lack of objective history and is the materialization of ideology. Debord points that the concept of spectacle is closely related with the separation , because separation is the realistic social basis of the genesis of the spectacle.Spectacle is through four dimensions of separation to achieve goals of spectacle.That is to say,the separation between spectacle and the reality: the separation of production and consumption; Separation of human relations; separation of labor time and leisure time.Debord’s ultimate intention is to criticise and transform the society of the spectacle.Marx in a capitalism market economy criticises the commodity fetishism, but Debord attempts to abstract the process of commodity production back even further, and to open up the unique criticle path of image fetishism. Criticism is to change the present reality, Debord pointed out: The "drift""detournement""constructed situation" and other strategies to promote active participation of each individual construction of daily life, in order to obtain more perfect existence. However, Debord's theory and practice still have some problems. The theory of transformations such as late thought turn to illusive art road, and lack of practicality.Compared with the critical dimension of the production of Marx, Debord’s comment on society is one-dimensional, lack of in-depth critique of production and reproduction of the capitalism.In summary,the theory of the society of the spectacle as a new social critical theory has its innovations and limits, above all the key can help us better understand Marx's critical theory and add new perspective to interpret everyday life.Debord’s thoery on spectscle undoubtedly possesses a significant inspiration.