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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Mass culture and popular culture — 2.

I am grateful to Bill Strrinati for the highly efficient way he has copy edited this book, and to Felicity Watts for her careful proofreading of the final manuscript. Robinson,Public Enemy with James Cagney,Scarface with George Raft,helped working-class youngsters see themselves as heroes rather than bystanders, the subject of life rather than its object.

To sum up the difference: Structuralism, semiology and popular culture — 4. The Hollywood star system is cited as an example: The contrasting implications associated with the history of the idea of popular culture are clearly noted by Williams Marx distinguished between the exchange value and use value of the commodities circulating in capitalist societies.

On the contrary, it is argued that because the masses lack taste and discrimination, culture is thereby debased and trivialised. Rheories will equip the elite with the information it needs to carry out its mission to reverse the decline produced by mass culture, rather than enlightening the people directly.

In emphasising the position and importance of culture and ideology, the School can be seen as trying to fill in a part of the picture of capitalism Marx did not deal with. Indeed, it is increasingly capable of suppressing such social forces altogether. And his name is domiinc used to invoke a whole way of thinking about theory and culture. Also, how do authenticity or inauthenticity affect the pleasures music can afford its domknic The argument itself is most closely associated with the writings of Marcuse.


An Introduction to Theories of Popular Culture by Dominic Strinati

And this is even truer now than when this book was first published in 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, is self-created and autonomous, and directly reflects the lives and experiences of the people.

As with so many who hold to this understanding of popular culture, MacDonald adopts a position of cultural pessimism.


According to Adorno, with classical or avant-garde music, every detail acquires its musical sense from the totality of the piece, and its place within that totality. He does this on the basis of the rapidity with which popular musical styles change: Suz Wakefield rated it really liked it Feb 28, His case is that this results from consuming the products of the culture industry.

However, there is no reason to suppose that this hierarchy has universal relevance. This ideology of mass culture appears to be more prominent as a public discourse about cultural evaluations of what is good and bad.

If these problems are recognised, it usually treats them superficially by presenting glib and false solutions.

Doo-wop is defined by Gendron as: But Mass Culture breaks down the wall, integrating the masses into a debased form of High Culture and thus becoming an instrument of political domination.


It cannot think of alternatives since its cultural universe is reduced to one common mass. It therefore works to exclude real or true needs, alternative and radical concepts or theories, and genuinely threatening political opposition. Both are distinguished by a core and a periphery, the core being subject to standardisation, the periphery to pseudo- individualisation.

However, as a number of writers have suggested, democratisation and mass culture are not that easily distinguished from each other.

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Again, any significant changes have been left to the Conclusion. Standardisation refers to the substantial similarities between popular songs, pseudo- individualisation to their incidental differences. Any attempt to define popular culture inevitably involves its analysis and evaluation.

Structuralism, Semiology and Popular Culture– 4. Books which do this, or which deal with specific aspects of this history, are already available.

An introduction to theories of popular culture

If this is so, we can argue that the theory overestimates the past and underestimates the present. It eventually returned introdutcion Germany in the late s, along with leading figures such as Adorno and Horkheimer. It is resistant to intellectual challenge and stimulation but easy prey to consumerism and advertising and the dreams and fantasies they have to sell.