As both historical continuation and contemporary embodiment of the sublime in architecture, television towers, despite their pervasive presence in global cities, have rarely attracted substantive scholarly attention within the humanities and social sciences concerning their pronounced political, economic, technological, and cultural attributes. This study, operating within the interdisciplinary framework of cultural studies, transposes the television tower from visually-oriented architectural criticism into the domain of journalism and communication, thereby establishing for the first time the legitimacy and academic significance of “television tower studies” within the discipline. A review of the literature reveals that cultural studies have thus far produced only fragmented case analyses, focusing predominantly on television towers constructed by left-wing regimes in the latter half of the 20th century and examining their manifest visual politics and latent ideological symptoms. Concurrently, the “Gaze Theory”, emanating from the core of Western cultural theory, has served as an implicit “pre-theory” in the French intellectual tradition's critique of modernity via the Eiffel Tower. Constrained by the depoliticizing effects of neoliberalism and methodological blind spots within cultural studies itself, existing research and theoretical frameworks have failed to adequately discern the contemporary transformations of television towers—namely, their “re-politicization” and increasingly “complex economic composition”. Consequently, this article revisits key debates within the critical school of cultural studies, reaffirms its potential for synthesis with the political economy of communication, and advocates for its progression toward anthropological methodology. It validates the appropriateness of situating television towers within the field of “infrastructure studies”. Drawing upon recent ethnographic findings in television tower research, this article elucidates how an anthropological approach simultaneously facilitates the critical identification of their “techno-political nature”, the selective gathering of “administrative and capital-related documentation”, and the reinvocation of the “visual-cultural theoretical tradition”. Through this triangulation, the methodological pathways, academic value, and practical relevance of television tower research are compellingly articulated.