INTRODUCTION TO CRITICAL THEORIES AND CONCEPTS IN THE CREATIVE AND CULTURAL INDUSTRIES (CCI)

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Consumer Culture and Cultural Industries

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Culture is meaningful Culture is meaningful – it helps us to make sense of our own life, it informs us about others, and it encourages to us reflect upon, and then act, in the world around us .

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Consumer culture emerges from:

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Mass production and consumption: Fordism Mass market, mass consumers (late 19 th century in US) Fordism: a form of economic system based on industrial mass production Mass production of standardised products for a mass consumer market: Model T in 1908 ↓

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Industrialisation , urbanization, mass culture Industrial Revolution Technological innovation, and the development of large-scale production Mass society and large u rban centre emerge around factories and industry Change in social life Cultural Industries

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Post-Fordism - Flexible specialisation Flexible specialisation , niche consumer markets, 2 nd half of 20 th century Rise of service industries and flexible workforce, white collar jobs, office jobs New middle class (new petite bourgeoisie) Hipster

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The emergence of consumer culture

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Consumer culture emerges from: {5C22544A-7EE6-4342-B048-85BDC9FD1C3A} Subsistence Economy Market Economy Satisfying basic needs Satisfying needs but also wants Goods were exchanged for other goods Goods and services are exchanged for money “Customers” would know each other Goods and services a produced for a largely anonymous market

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Key concept: Commodities have value

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Marx – Types of Values

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Marx – theory of value

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Consumption of meaning This leads to the idea that what we are buying is the meaning of a commodity or service to satisfy our desires rather than our needs.

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Key concept: commodities have meaning V alue is created by meaning . Goods and services have symbolic value Instead of economics driving culture , culture drives the economy.

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Reflective Exercise To reflect about the importance of meaning, let’s consider how and why meanings matter and less so technical qualities of a product. Please add the number of smartphone/mobile phones that you have ever purchased for yourself and divide them by the number of years. How often do you buy a new phone?

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Cultural Industries…

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‘Culture Industry’ The term first appears in: Theodor Adorno and Max Horkheimer (1944) Dialectic of Enlightenment , which contains Adorno’s essay: ‘ The Culture Industry: Enlightenment as Mass Deception’

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Turning art into commerce… ‘Movies and radio need no longer pretend to be art. The truth that they are just business is made into an ideology in order to justify the rubbish they continually produce’ (Theodor Adorno)

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The Effects of Culture Industry ‘The total effect of the culture industry is one of anti-enlightenment (…) It impedes the development of autonomous, independent individuals who judge and decide consciously for themselves’ (Adorno, 1991, The Culture Industry , p. 106) ‘shallow entertainments’ ‘pseudo-culture’ (fake culture)

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Standardization ‘The whole structure of popular music is standardized (…) the general types of hits are also standardized; not only the dance types, the rigidity of whose pattern is understood, but also the ‘characters’ such as mother songs, home songs, nonsense of ‘novelty’ songs, pseudo-nursery rhymes, laments for a lost girl’ (Adorno 1941, in Frith and Goodwin 1990).

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All good culture comes to a bad end… Adorno used the term ‘culture industry’ to describe the industrialisation and standardization of art and culture. https://www.youtube.com/watch?v=-njxKF8CkoU&t=3s

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Reflective Exercise Can you think of examples of a standardizing of cultural content in our current times. Is that still ongoing? Why do you think that is?

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From negative to positive…… By the 1950s the cultural industries came to be seen as positive and vital : Economically Socially Culturally

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The Cultural Industries are… ‘complex, ambivalent and contested’ ( Hesmondhalgh , 2018)

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Complex Bernard Mi è ge, French cultural theorist, argued against Adorno’s: …‘limited and rigid idea of artistic creation’ and it’s ‘distrust for technology and artistic innovation’ arguing that the ‘capitalization of cultural production is a complex, many-sided and even contradictory process’ (Mi è ge 1989 cited in McGuigan, J. (2004) Rethinking Cultural Policy p.123)

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Ambivalent The products of the culture industries might ‘oppress people’ but can they also challenge oppression at the same time? e.g. Charlie Chaplin ‘Modern Times’ (1936) https://www.youtube.com/watch?v=6n9ESFJTnHs

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Contested The culture industries can contest social order, not just impose it – e.g. protest songs

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Reflective Exercise Can you think of examples, where cultural industries challenged established meanings?

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Complex, ambivalent, contested Cultural industries are the site of complex and varied social, cultural and economic processes, organisations and meanings - that do not necessarily add up into a single unified whole (see Hesmondhalgh 2018)

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Economic Value The cultural industries created wealth and jobs

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Political Value The cultural industries enhanced the mediated public sphere

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Cultural Value The cultural industries encouraged new cultural expressions from ordinary people, social minorities and marginal groups

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Reflective Exercises Can you think about examples of such different values of cultural industries in your home country?

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Why Cultural Industries Matter I ‘More than other types of production, the cultural industries are involved in the making and circulating of products – that is, texts – that have an influence on our understanding of the world (..) They contribute strongly to our sense of who we are, of what it means to be a woman or a man, an African or an Arab, a Canadian or New Yorker, straight or gay [but] most texts that we consume are circulated by powerful corporations [that] have an interest in making profits. This raises a crucial issue: do the cultural industries ultimately serve the interests of their owners and their executives and those of their political and business allies?’ ( Hesmondhalgh 2018, p.3-4)

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Why Cultural Industries Matter II ‘Firstly, they matter because they provide contexts for human beings, alone or with others, to discover, disclose and distribute meanings - in all the diversity and complexity that this implies. In this way, cultural industries help make possible politics, and the examination of life. Secondly, they matter because they provide a means of economizing, for generating and distributing resources – particularly for those who have a direct interest in processes of production, distribution and consumption’ (Banks, 2015 ‘Valuing Cultural Industries’)

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A variety of social, cultural , industrial, and economic factors The period of modernity onwards Accelerates during the 19th century and the 20th centuries Conditions of capitalism through to late capitalism (postmodernism)

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Economic value – what a consumer is prepared to pay for it Use value (utility – what the consumer can do with it) Exchange value – what it could be traded for in other goods or services Symbolic value – what social prestige derives from the product

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….are activities that produce ‘symbolic’ goods; such as TV programmes, films, music, art, magazines. architecture, fashion, computer games…. They make meaning in the form of images, symbols, signs and sounds, and they aim to make money for the authors and organizations that produce them

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INTRODUCTION TO CRITICAL THEORIES AND CONCEPTS IN THE CREATIVE AND CULTURAL INDUSTRIES Christian Morgner charlene 8 2022-01-12T01:28:16Z 2022-01-12T01:28:16Z

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