An Introduction to Theories of Popular Culture Second Edition Dominic Strinati LONDON AND NEW YORK First published by Routledge Second edition. Dominic Strinati provides a critical assessment of the ways in which these theories have tried to understand and evaluate popular culture in modern societies. Read the full-text online edition of An Introduction to Theories of Popular Culture ( ). to Theories of Popular Culture. By Dominic Strinati. No cover image.
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Pretty good for introducing popular culture from different perspectives. The use of technological innovations in the production of functional artefacts usually encourages standardisation since it can increase the extent to which the parts of, say, one type of car can be interchanged with those of another.
Unlike mass culture theory or the Frankfurt School, their legacy appears to be secure and wide ranging. However, semiology need not be associated with either of these claims. Gendron says that for Adorno standardisation also occurs diachronically that is to say, over time as popular musical standards are set as well as synchronically the standards which apply at any particular point in time.
Capitalism is arguably less stable than the Frankfurt School theory recognises, but neither has it been continually confronted by the implicit or explicit threat of a revolutionary working-class movement.
The use of mass production techniques, along with the commercial need to make a profit, are seen to have a harmful and corrupting influence on the culture produced in mass, thwories societies.
Religious certainties and communal verities give way to the amoral immediacy of rational individualism and secular anomie associated with the rise of mass consumption and mass culture, the moral placebos of a mass society. And in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced.
It is so effective in doing this that the working itroduction is no longer likely to pose a threat to the stability and continuity of capitalism.
Browse related items Start at call number: A society dominated by commodity fetishism, exchange value and the culture industry, and whose language is similarly tainted, can only be understood by a language which resists fetishism, ideology and the market. Where does popular culture come from?
He does this on the basis of the rapidity with which popular musical styles change: The point here is that if no appropriate framework of moral order is forthcoming, if people do not have a secure sense of moral value, then a spurious and ineffectual order will emerge instead, and people will turn to surrogate and fake moralities.
This theory has tended to speak on behalf of the audience rather than finding out what it has to say for itself. This problem is not helped dtrinati the way Adorno often characterises the audience.
It may therefore be meeting a very real need. On the basis of this he suggested it was possible to found a science of signs. If one reads the literature extensively, it becomes apparent that these terms are often used interchangeably. Does it express, in however an imperceptible, subtle and rudimentary manner, resistance to those in power, and the subversion diminic dominant ways of thinking and acting?
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An introduction to theories of popular culture
Each chapter includes a guide to key texts for further reading, and there is also a comprehensive bibliography. The coming of cinema and radio, the mass production and consumption of culture, the rise of fascism and the maturing of liberal democracies in certain western societies, all played their part in setting the agendas of these debates. They are increasingly characterised by a core structure, the parts of which are interchangeable with each other. However, it is not only this development which makes popular culture and its analysis a relevant cultur of inquiry.
The contrasting implications associated with the history of the idea of popular culture are clearly noted by Williams It does this in what is hoped is a clear and accessible style.
There is a place for art, the culture of elites, and a place for a genuinely popular folk culture which arises from the grass roots, lopular self-created and autonomous, and directly reflects the lives and experiences of the people. These are issues which are still very much alive in the study of popular culture today, but intgoduction as well as others received systematic and substantial attention in the debates about mass culture which started to gather pace from the s onwards.
Representations of the past may themselves be cultural constructs and tell us more about the present than the past. What would the fulfilment of real needs involve? This meant…an inability to be bored and a capacity to concentrate, due in part, no doubt, to the fact that there was no competition of amusements provided.
Dominic Strinati An Introduction to Theories of Popular Culture | sry wahyuningsi –
Studies have shown how audiences for popular culture are more active and discriminating about what they consume than the theories of mass culture or the culture industry allow. Refresh and try again. Mass culture and popular culture — 2.
His case is that this results from consuming the products of the culture industry. Kristinne Nigel Santos rated it liked it Jun 06, For these and other reasons, questions can be raised about the extent to which the work of the Frankfurt School can develop a sociological analysis of popular culture.
In doing this, it takes over the consciousness of the masses.
Equally, folk culture has to be produced by an integrated community which knows what it is doing, and which can thereby guarantee the authenticity of its products.
Alfred Hitchcock made commercial films within the Hollywood system but has since been defined as an auteur, an original and creative genius. Even the Hollywood film can reveal something of the reality of capitalism, but if the society we live in is as Adorno envisages it, then for him non-fetishised, non- ideological forms of empirical knowledge and proof are not possible.