Editing Simulacra and Simulation (section)

=== Academia and pop culture ===
The work has sparked interest in academia, with many researchers building upon the concept laid down by Baudrillard. 

Many have applied Baudrillard terminology to the study of modern and contemporary works of fiction.<ref>{{Cite journal |last=Tramboo |first=Dr Ishfaq |date=2021-01-01 |title=Hyperreality in Media and Literature: An Overview of Jean Baudrillard's Simulacra and Simulation |url=https://www.academia.edu/84672067/Hyperreality_in_Media_and_Literature_An_Overview_of_Jean_Baudrillard_s_Simulacra_and_Simulation}}</ref> 

Some specific examples include:

* [[Day Zero (novel)|Day Zero]], a novel by [[C. Robert Cargill]], examined in "Simulacrum And Hyperreality in Cargill's Day Zero: A Critical Postmodern Study"<ref>{{Cite journal |last=1Abdul Munim Khan, 2Aleem, 3Riasat Ali |first=1Rana, 2Amina,  3Faiza |date=January 2024 |title=Simulacrum And Hyperreality in Cargil's Day Zero A Critical Postmodern Study |url=https://www.researchgate.net/publication/377716562_Simulacrum_And_Hyperreality_in_Cargill's_Day_Zero_A_Critical_Postmodern_Study |journal=Khaldunia - Journal of Social Sciences}}</ref>
* The [[Matrix movie|Matrix]] movie, which is considered to be an 'interpretative grid' for Baudrillard's theory<ref>{{Citation |last=Lutzka |first=Sven |title=SIMULACRA, SIMULATION AND THE MATRIX |date=2006-01-01 |work=The Matrix in Theory |pages=113–129 |url=https://brill.com/display/book/edcoll/9789401201292/B9789401201292-s007.xml |access-date=2025-03-11 |publisher=Brill |language=en |isbn=978-94-012-0129-2}}</ref> and was issued to the cast as a required reading,<ref>{{Cite news |last=Rothstein |first=Edward |date=2003-05-24 |title=Philosophers Draw On a Film Drawing On Philosophers |url=https://www.nytimes.com/2003/05/24/movies/philosophers-draw-on-a-film-drawing-on-philosophers.html |access-date=2025-03-11 |work=The New York Times |language=en-US |issn=0362-4331}}</ref> much to Baudrillard's disappointment with the final product,<ref>{{Cite web |last=Philosophy |first=The Living |title=Why Baudrillard Hated The Matrix |url=https://www.thelivingphilosophy.com/p/why-baudrillard-hated-the-matrix |access-date=2025-03-11 |website=www.thelivingphilosophy.com |language=en}}</ref>
* [[Ex Machina (film)|Ex-Machina]] (2014) and [[Venom (2018 film)|Venom]] (2018) in the matter of [[techno-orientalism]]<ref>{{Cite journal |last=Wong |first=Angie |date=2022 |title=Simulacra and SimulAsian: The Culture of Hollywood's Yellow Peril |url=https://muse.jhu.edu/article/881621/summary |journal=Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée |volume=49 |issue=1 |pages=208–221 |issn=1913-9659}}</ref> 
* finally, and most broadly, to [[science fiction]] as a genre<ref>{{Cite web |title=In Response To Jean Baudrillard (Hayles, Porush, Landon, Sobchack, Ballard) |url=https://www.depauw.edu/sfs/backissues/55/forum55.htm |access-date=2025-03-11 |website=www.depauw.edu}}</ref>

In Baudrillard's Obscenity,<ref>{{Cite journal |last=Sobchack |first=Vivian |date=1991 |title=Baudrillard's Obscenity |url=https://www.jstor.org/stable/4240087 |journal=Science Fiction Studies |volume=18 |issue=3 |pages=327–329 |issn=0091-7729}}</ref> [[Vivian Sobchack]] notes:<blockquote>There's nothing like a little pain to bring us (back) to our senses—and to reveal Baudrillard's apocalyptic descriptions of the postmodern techno-body as dangerously partial and naively celebratory. Baudrillard's techno-body is a body that is ''thought'' always as an ''object'', and never ''lived'' as a ''subject''. Thus it can bear all sorts of symbolic abuse with indiscriminate and undifferentiated pleasure. This techno-body is a porno-''graphic'' fiction, objectified and written beyond belief and beyond the real—which is to say, it is always something "other" than Baudrillard's own body which he lives (even as he refuses to believe it) as "real" and "mine." One's own body resists the kind of affectless objectification that Baudrillard has ''in mind''; rather, it responds affectively to such mortification as he ''imagines'' with confusion, horror, anguish, and pain. Even its defensive or offensive "numbness" is physically and affectively ''lived''—and ''felt''.</blockquote>Thus providing a counter argument to Baudrullard's simulacra, or techno-body, while recognizing the value of the framework.