Theory-II.pptx - THEORY II THE PRODUCTION OF POPULAR CULTURE The Economics of Popular Culture ■ Clearly the economics of popular culture are important

Theory-II.pptx - THEORY II THE PRODUCTION OF POPULAR...

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THEORY II: THE PRODUCTION OF POPULAR CULTURE
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The Economics of Popular Culture Clearly the economics of popular culture are important – mass production and dissemination requires a) capital to invest b) access to means of production that allow for broad dissemination /distribution Further to this, the success and value of popular culture are often inferred from either their budgets or their revenue Ie. many will judge a movie based on their budget and or how well it performs in the box office (this goes both ways – positive and negative) When assessing artistic value, an inverse relation between budget/financial success often exists
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Budgets and ‘Artistry’ When we make judgements about the inverse relationship between finances/financial success and artistic merit, we are making an argument about the relationship between production processes and cultural content Walter Benjamin, for example, argued that as we move from independent (singular) creators to mass produced content the idea of ‘artistic genius’ (what many argue lies at the heart of cultural value) loses import The genius is singular – the production studio shows us that creativity can be divided, routinized, professionalized and packaged Are ideas such as creative genius applicable to the world of popular culture? Why or why not?
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The Frankfurt School and the Culture Industry Frankfurt school generally associated with a group of broadly Marxist scholars who work through the general problem of popular culture as it relates to capitalism (Benjamin, Horkheimer, Marcuse, Fromm and Adorno) Speak of ‘the cultural industry’ which grounds cultural production in a dominant/singular structure of interests while later scholars have departed from this singular focus to instead speak of ‘cultural industries’ in the plural
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