Friday, 25 November 2011

Lecture 5 - In the gaze of the media





‘according to usage and conventions which are at last being questioned but have by no means been overcome - men act and women appear. Men look at women. Women watch themselves being looked at’ (Berger 1972) From Ways of Seeing Chapter 3


Often misquoted or used inaccurately


Investigation of the gaze through the nude in European oil painting.  This does not mean that women are vain. Women watch themselves being looked at because of the many representations of women that surround us. Women survey their own femininity




Hans Memling
‘Vanity’
(1485


Mirror as device of justification, moral condemnation.  The mirror is used as a device to distract from the women's body and indicates that she Enjoys being looked at. Makes us make a moral judgement.






Slight challenge to the gaze as she looks back from the mirror.  A contemporary advertising image .  Almost The thinker (Rodin). revery absorbed in thought so our gaze is not returned.  Viewer/camera is positioned at low viewpoint - we do see her eyes reflected.








Berger also looks at Alexandre Cabanel ‘Birth Of Venus’ 1863
Most admired painting of the Salon that year Eyes covered Implies asleep or just waking but allows us to look at her body without her looking back.
Kitschy / mythological / unchallenging / sentimental /unaggressive sexuality (looks away from viewer.)

Sophie Dahl for Opium, Similar effect ,Deemed too overtly sexual
When made vertical was passes by Censorship board - Emphasis changed from body to face








Titian's Venus of Urbino,1538
Berger makes the comparison :Traditional nude- regarding us coquettishly 'happy for us to view' Wealthy with servants contracts with:





Manet - ‘Olympia’ (1863)
Olympia transforms a dignified goddess into the simple nakedness of humanity. Olympia does not belong to the world of mythology - Olympia stood “as the first nude to represent modern reality” because she is a prostitute rather than a goddess figure
Shocked Modern society - Olympia is adorned with the trappings of success - jewels / bracelets etc, not the degraded prostitute of popular myth - Courtesan
Cat is symbol of individual femininity and independence. Olympia ignores the flowers presented to her, probably as a gift to her from an admirer




Ingres ‘Le Grand Odalisque’ (1814) - Reinterpreted
Guerrilla Girls formed in 1985 in response to the Museum of Modern Art's exhibition "An International Survey of Recent Painting and Sculpture" which showcased 169 artists; out of those 169, only 17 were women. The curator's press release for the exhibition stated: "Any artist who is not in my show should rethink his career."




Asked to design a billboard for the Public Art Fund in New York, we welcomed the chance to do something that would appeal to a general audience. One Sunday morning we conducted a "weenie count" at the Metropolitan Museum of Art in New York, comparing the number of nude males to nude females in the artworks on display. The results were very "revealing."

The PAF said our design wasn't clear enough (????) and rejected it. We then rented advertising space on NYC buses and ran it ourselves, until the bus company cancelled our lease, saying that the image, based on Ingres' famous Odalisque, was too suggestive and that the figure appeared to have more than a fan in her hand.
Phallic implication

MANET - Bar at the Folies Bergeres 1882
Again, self-portrait… Skewed perspective.
Disaffected from society, unhappy at work and not involved with the revelry - Marginalised members of this great new Modernist society
Role of women - disaffected, no longer the passively available, sexualised Nymphs Locket around the hints at another life - escapism - a love token from another world She is the only figure not reflected - Paris as a hall of mirrors - Superficiality





Detail Manet is reflected in the mirror even if an illusion not a realistic reflection.You are no longer the spectator - you are involved with the scene. Reference to the viewer


Picture for Women was inspired by Edouard Manet's masterpiece A Bar at the Folies-Bergères (1881–82). In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.
http://www.tate.org.uk/modern/exhibitions/jeffwall/rooms/room1.shtm




Coward, R. (1984)


The camera in contemporary media has been put to use as an extension of the male gaze at women on the streets
From her essay “the look”
Nudity, device of Sunglasses - viewer not challenged by a look, Normalises the display of bodies in a street context





Eva Herzigova, 1994 Normalises nudity in the street. OK to look Looking at her own body or down at us from a billboard.





Coward, R. (1984)
The profusion of images which characterises contemporary society could be seen as an obsessive distancing of women… a form of voyeurism
Peeping Tom, 1960 Voyeurism: the compulsion to seek sexual gratification by secretively looking at sexual objects or acts; the actions of a Peeping Tom.





There are examples where the male body is objectified in a similar way
Vanos ads of years past as a sign of advertisers recognising the desire of women to objectify men in our society. But what is really happening in advertising? Can men be objectified as women? If so, in what frequency is objectification present in ads? The Ads: Consider the number of ads presented in this male trope as compared to other examples of female objectification. It is interesting that when I first began the Web site many years ago, the number of ads in this exhibit were small. Today, there are nearly 60 such ads.
Dr Scott A Lucas (genderads.com)
Do occur just not as frequently

2007 Male nude as challenging the gaze Gym- sports-power
Cult of fitness – male ideals of body image.


Marilyn: William Travillas dress from The Seven Year Itch (1955)  The framing in fifties movies chops the female body framing and allowing us to view - Women objectified.


Laura Mulvey did not undertake empirical studies of actual filmgoers, but declared her intention to make ‘political use’ of Freudian psychoanalytic theory (in a version influenced by Jacques Lacan) in a study of cinematic spectatorship in narrative Hollywood cinema.


Mulvey notes that Freud had referred to (infantile) scopophilia - the pleasure involved in looking at other people’s bodies as (particularly, erotic) objects. In the darkness of the cinema auditorium it is notable that one may look without being seen either by those on screen by other members of the audience. Mulvey argues that various features of cinema viewing conditions facilitate for the viewer both the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an ‘ideal ego’ seen on the screen. She declares that in patriarchal society ‘pleasure in looking has been split between active/male and passive/female’ (Mulvey 1992, 27). 



Artemisia Gentileschi ‘Judith Beheading Holofernes’
1620,


Two women are trying to cut off a man's head on a bed. Artemisia Gentileschi's Judith Beheading Holofernes shows a famous Biblical assassination. The sword-woman is Judith, a Jewish lady. The other woman is her maid, Abra. Their victim is Holofernes, the Assyrian general.
Judith has got into his tent and got him deeply drunk. To judge from his naked body in the sheets and from her slipped dress, she's got him into bed too, before he passed out and they could get to work. Gentileschi pays attention to her story.
And now the drunk man has woken in the middle of their attack. Candlelight reveals the tight, desperate wrestling of limbs. Judith, she with the blade, is keeping herself at arm's length, partly, as her pursed, slightly averted face suggests, out of a revulsion from the disgusting though necessary job (how many heads has she cut off before?); partly to stay out of the fight, so far as this is possible, because both her hands are needed for leverage, grasping his head by the hair, pushing the blade through his neck.
Abra meanwhile tries to hold him down. Her calm and beautiful face is directly above him, looking straight down on to him. Her efficient hospital gestures restrain his thrashing body. They indicate her perfect managing indifference to this creature's battle for life. But both women are ruthless. Judith is disposing of a rat. Abra is drowning kittens.
There is plenty of sensation to enjoy, the blood-stained sheets, the flesh. But Gentileschi's emphasis is on how hard it is, how long it can take, to kill someone. She stresses the hows and difficulties. The strain and strength in Judith's parallel arms, driving the sword through spine and gristle, is evident. The visual confusion of plunging arms and gripping hands – whose is whose? – mimics Abra's trouble keeping control of the man, holding one arm down while another breaks free.
This violence, in other words, is violent. This outcome is clear, probably imminent, the cut is almost through, the head will come free. But that's not how the picture makes you feel. There is no sense of a clean gesture, a chop. They're in the thick of it, the carving blade still in the neck, their bodies tangled with his like lovers. The killers are intimately implicated in their murder.
This killing isn't pictured as a heroic deed, a sword raised to strike, a head raised as a trophy. It's an ongoing business, which never seems to end. Muori, dannato! Muori!, as Tosca cries in the opera: Die, damned one! And in this painting, the struggle continues.
http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-judith-beheading-holofernes-161213-artemisia-gentileschi-1807173.html


Pollock, G (1981) Lecturer at Leeds University.  Women's exclusion from Art history.
Women ‘marginalised within the masculine discourses of art history’. This marginalisation supports the ‘hegemony of men in cultural practice, in art’. Women not only marginalised but supposed to be marginalised
From Old Mistresses
TrAIN Open Lecture: Laura Mulvey in conversation with Griselda Pollock. Chair: Sutapa Biswas
Open Lecture
Date: Wednesday 26 January 2011, 17:15 to 19:00 Location: Lecture Theatre - Chelsea College of Art and Design, SW1P 4JU (Atterbury Street entrance)
Cindy Sherman,

“Untitled Film Still # 6”,

1977-79

Sherman claims she her work is not about 'The Gaze' however she is using Photography. She is using photographic traditions and motifs which then reflect 'The Gaze'  
Turned the reclining body in a vertical sitting position which creates a subversion.  Also holding a mirror faced away, not a device which denies our ability to look at her through the mirror. She remind us this is a constructed image wit the timer chord.  The woman's gaze looks away

Untitled film still #7 1977
Judith holofernes 1989/90 from History portraits


Women artists whose work challenges the male gaze.
Barbara Kruger ‘Your Gaze Hits The Side of My Face’(1981)




Barbara Kruger I Shop Therefore I Am 1983


Sarah Lucas ‘Eating a Banana’  1990
Performing to be looked at.  fallic association of eating a banana - can make viewer uncomfortable
Sarah Lucas Self Portrait with Fried Eggs 1996

The body for consumption- challenging this idea
Tracey Emin ‘Money Photo’2001


The idea that women are natural liars has a long pedigree. The key document in this centuries-long tradition is the notorious witch-hunter's manual, the Malleus Maleficarum or The Hammer of Witches, which was commissioned by Pope Innocent VIII. The book was written by two Dominican monks and published in 1486. It unleashed a flood of irrational beliefs about women's "dual" nature. "A woman is beautiful to look upon, contaminating to the touch, and deadly to keep," the authors warned. They also claimed that "all witchcraft comes from carnal lust, which is in women insatiable".


It's not difficult to see these myths lurking behind Pacelli's description of Knox: "She was a diabolical, satantic, demonic she-devil. She was muddy on the outside and dirty on the inside. She has two souls, the clean one you see before you and the other." The lawyer's claim that she was motivated by "lust" could have come straight from the Malleus, which insists that women are more "carnal" than men.

Knox/Sollecito Case


The Daily Mail has emerged as the major fall guy by mistakenly publishing the wrong online version of the Amanda Knox verdict.
Knox won her appeal, but the paper's website initially carried a story headlined "Guilty: Amanda Knox looks stunned as appeal against murder conviction is rejected.”
The Mail was not the only British news outlet to make the error. The Sun and Sky News did it too and yes - hands up here - so did The Guardian in its live blog.
It would appear that a false translation of the judge's summing up caused the problem, leading to papers jumping the gun.
So why has the Mail suffered the greatest flak? In time-honoured fashion, echoing the hot metal days of Fleet Street, it prepared a story lest the verdict go the other way.
But it over-egged the pudding by inventing "colour" that purported to reveal Knox's reaction along with the responses of people in the court room.
It even included quotes from prosecutors that were, self-evidently, totally fake.
In other words, by publishing its standby story, the Mail exposed itself as guilty of fabrication.


As Knox realised the enormity of what judge Hellman was saying she sank into her chair sobbing uncontrollably while her family and friends hugged each other in tears.
A few feet away Meredith's mother Arline, her sister Stephanie and brother Lyle, who had flown in especially for the verdict remained expressionless, staring straight ahead, glancing over just once at the distraught Knox family.
Prosecutors were delighted with the verdict and said that 'justice has been done' although they said on a 'human factor it was sad two young people would be spending years in jail'".

Susan Sontag (1979) ‘On Photography’
'To photograph is to appropriate the thing photographed'
The act of photographing is more than passive observing. Like sexual voyeurism, it is a way of at least tacitly, often explicitly, encouraging what is going on to keep on happening'


Paparazzi shot of Princess Diana
Pap images steal shots for personal financial gain
The publication of these shots creates a market for their passive consumption (mags and newspapers)
We contribute to the perpetuation of this cycle buy buying the mags, we create the market for our own voyeuristic pleasure
Our desire is to see the mask of celebrity lifted, and ordinary life exposed.
This is ultimately what killed Princess Diana

Reality Television
Appears to offer us the position as the all-seeing eye- the power of the gaze
Allows us a voyeuristic passive consumption of a type of reality
Editing means that there is no reality
Contestants are aware of their representation (either as TV professionals or as people who have watched the show)


The Truman Show (1988) dir Peter Weir - Jim Careys character discovers the limits of his world, that his life is a staged event.

Big Brother 2011 - Male females to gaze upon.
Chair is designed for maximum exposure
Voyeurism becomes everyday


Original idea was that all would be exposed but ten years on we accept that the programme is edited.
Fantasy that they cannot see us but they are constantly picturing themselves, in mirrors etc and speculating about how the public Will perceive them (they are professionally aware of this)
They know the premise of the show and the viewing figures.
They effuse to be looked at ness.
Ultimate passive viewing experience.


Looking is not indifferent. There can never be any question of 'just looking'. Victor Burgin (1982) From Thinking Photography


Further reading


John Berger (1972) Ways of Seeing, Chapter3
Victor Burgin (1982) Thinking Photography
Rosalind Coward (1984) The Look
Laura Mulvey (1973) Visual Pleasure and Narrative Cinema
Griselda Pollock (1982) Old Mistresses

















Thursday, 10 November 2011

Lecture 4 - Critical positions on the media and popular culture

Aims


Critically define ‘popular culture’
Contrast ideas of ‘culture’ with ‘popular culture’ and ‘mass culture’ Loaded with Value judgements
Introduce Cultural Studies (emerged fro British scholarship) & Critical Theory (German Marxist)
Discuss culture as ideology
Interrogate the social function of popular culture


What is culture?



  • ‘One of the two or three most complicated words in the English language’
  • general process of intellectual, spiritual & aesthetic development of a particular society, at a particular time
  • a particular way of life i.e. Subculture with certain attitudes and values
  • works of intellectual and especially artistic significance’- A canon of really important literature eg Shakespeare - Who decides?

Reminder of the Marxist reading - materialistic, culture is part of the superstructure emerging from the base. Particular class or economic relations which form the super structure which includes culture. Refer to Marx quote


Culture could be a site of ideological conflict.


Raymond Williams (1983) Keywords -Pioneer of cultural studies in 20th C


4 definitions of ‘popular’ culture

  • Well liked by many people - Quantitively measured eg Dr Who. Can be confusing definition.
  • Inferior kinds of work - Lower than 'High' culture. Mass produced. "Kitsch" Aspire to be important. Someone makes a 'value judgment' a 'Taste maker' Who in history has acted as taste maker - the ruling class- A class judgement.
  • Work deliberately setting out to win favour with the people Eg Judgements made by about Jack Petriano prints, a snobery, elitist work is high culture, work for the people is flawed
  • Culture actually made by the people themselves eg grass roots, working class - Brass Bands from mining communities.
The one you side with depends on your political position.



EG Caspar David Friedrich (1809)Monk by the Sea



'high' culture reading  The insignificence of men, transience of life Compared to Jenny mossison Popular culture.  Both could make you contemplate life but why don't they?

v








Inferior or residual culture


Judgement on all stratas of society


Popular Press vs Quality Press - Aimed at Mass v Elite
Popular Cinema vs Art Cinema
Popular Entertainment vs Art Culture


Examples of popular culture as people's culture which we make class judgements about


 Muriel of Bobby Sand - IRA prisoner/ starved himself/ Jeremy Deller & Alan Kane looked for examples of genuine popular culture around the country and exhibited in the Tate Gallery.  Initial reaction is to laugh, however then question why you laugh as they look quite poor quality, why could we do better and why are we making these judgement.  This is because we are coded to think a certain institutional way about what is good and bad.
Gerning competition 



What happens when a popular culture enters into 'high' culture eg Graffiti started in Ghettos of Sth Brox has been translated into mainstream western culture such as Banksy where a wall has been knocked down then exhibited in a Art gallery.



Culture as opposed to Popular culture

In the late 19th C, a change in culture occurred in with Industrialisation and urbanisation. People are clearly separated as 'working class' then condensed in factories.  There is a clear separation between the gentry and the working class in where they live in the city.  This created a Cultural separation.  The working class start to author their own culture eg piano and singing in pubs. Up to this point the ruling class defined Culture.  This also occurred in politics, Chartism emerges where working class fought for the right to vote. A class consciousness, how to organise their society.

Cultural studies start to emerge  One of the first books written about culture as a discipline.:


Matthew Arnold (1867) Culture & Anarchy
His definition: Culture is‘the best that has been thought & said in the world’
Study of perfection
Attained through disinterested reading, writing thinking
The pursuit of culture
Seeks ‘to minister the diseased spirit of our time’


Culture can minister the diseased spirit of our times. He is describing the 'anarchy' emerging working class culture which threaten the Elite classes.  This pattern continues throughout the 20th century - attempts to legitimise the culture of the working classes which is mocked by the Upper classes.  


Culture polices ‘the raw and uncultivated masses’
‘The working class… raw and half developed… long lain half hidden amidst it’s poverty and squalor… now issuing from it’s hiding place to assert an Englishmans heaven born privelige to do as he likes, and beginning to perplex us by marching where it likes, meeting where it likes, breaking what it likes (1960, p.105)


Leavisism - F.R Leavis & Q.D. Leavis - Similar is an extension of Arnoldism.  


Still forms a kind of repressed, common sense attitude to popular culture in this country.
For Leavis- C20th sees a cultural decline
Standardisation & levelling down of culture.  When in feudal society we could just get on with 'our' culture.
‘Culture has always been in minority keeping’ There has always been an elite whose role is to preserve culture.


‘the minority, who had hitherto set the standard of taste without any serious challenge have experienced a ‘collapse of authority’


Collapse of traditional authority comes at the same time as mass democracy (anarchy)
Nostalgia for an era when the masses exhibited an unquestioning deference to (cultural)authority (Working class being deferential to the upper classes)
Popular culture offers addictive forms of distraction and compensation.Eg popular fiction, music halls, rise of working class
A form of snobbery which is still reflected today:
'Real rock' music dismissing X Factor.
Their are trying to defend their class position so they have an agenda and it is biased.


‘This form of compensation… is the very reverse of recreation, in that it tends, not to strengthen and refresh the addict for living, but to increase his unfitness by habitutaing him to weak evasions, to the refusal to face reality at all’ (Leavis & Thompson, 1977:100)


Conslusion- A threat from working class towards the Elite classes
Populr intil 60's until The Birmingham School energes.  Dick Hebdige
Frankfurt School Critical theory - Marxist thinkers


Institute of Social Research, University of Frankfurt, 1923-33- Closed down by the Nazis relocated to New York
University of Columbia New York 1933-47
University of Frankfurt, 1949-


Studying popular Wrote about radio, TV, Films a rising popular culture and then in US arrived to a well developed popular culture. Promotion, advertising and consumer culture.


Five writers:
Theodore Adorno
Max Horkheimer


Herbert Marcuse
Leo Lowenthal


Walter Benjamin


They described what was happening in the Capitalist world. eg Hollywood and film houses almost produced in a factory like Fordism.  The cultural artefacts are predictable and standardised.


Frankfurt School : Theodore Adorno & Max Horkheimer


Reinterpreted Marx, for the 20th century – era of “late capitalism”


Defined “The Culture Industry” :
2 main products – homogeneity & predictability


“All mass culture is identical” :


‘As soon as the film begins, it is quite clear how it will end, and who will be rewarded, punished or forgotten’. Mass cultural products can also dish out moral messages.


‘Movies and radio need no longer to pretend to be art. The truth, that they are just business, is made into an ideology in order to justify the rubbish they deliberately produce. ... The whole world is made to pass through the filter of the culture industry. ... The culture industry can pride itself on having energetically executed the previously clumsy transposition of art into the sphere of consumption, on making this a principle. ... film, radio and magazines make up a system which is uniform as a whole and in every part ... all mass culture is identical.’


Theodore Adorno and Max Horkheimer, Dialectic of Enlightenment,1944


The idea of art as been turned into a business and all art as gone. As we consume the mass culture ie TV shows and songs this can code us into thinking a certain way about the world in a one dimensional way. Reduces our capacity for free independent thought.


Frankfurt School : Herbert Marcuse


Popular Culture v Affirmative Culture


The irresistible output of the entertainment and information industry carry with them prescribed attitudes and habits, certain intellectual and emotional reactions which bind the consumers more or less pleasantly to the producers and, through the latter, to the whole. The products indoctrinate and manipulate; they promote a false consciousness which is immune against its falsehood. ... it becomes a way of life. It is a good way of life - much better than before - and as a good way of life, it militates against qualitative change. Thus emerges a pattern of one dimensional thought and behaviour in which ideas, aspirations, and objectives that, by their content, transcend the established universe of discourse and action are either repelled or reduced to terms of this universe.
Herbert Marcuse, One Dimensional Man, 1968


Attitudes from mass culture codes us to think one way and usually affirms the Status Quo, does not challenge it.  Cements authority and depolitises.


(of affirmative culture): a realm of apparent unity and apparent freedom was constructed within culture in which the antagonistic relations of existence were supposed to be stabilized and pacified. Culture affirms and conceals the new conditions of social life.
Herbert Marcuse, Negations, 1968


- Cultural Commodities
- Negation = Depriving culture of “its great refusal” = Cultural Appropriation
ACTUALLY DEPOLITICISES THE WORKING CLASS
EG Hollyoaks - women in Education as students as primarily sexual objects. Che Guevara posters became neutralised into a symbol of 'cool' not of revolution. Big Brother and X Factor your salvation is not to form a political party but instead to be a celebrity.  




Authentic Culture vs Mass Culture


Qualities of authentic culture


Real
European
Multi-Dimensional
Active Consumption
Individual creation
Imagination
Negation
AUTONOMOUS


[…]in our society, where the real distinctions between people are created by their role in the process of production, as workers, it is the products of their own work that are used, in the false categories invoked by advertising, to obscure the real structure of society by replacing class with the distinctions made by the consumption of goods.


Thus, instead of being identified by what they produce, people are made to identify themselves by what they consume. From this arises the false assumption that workers ‘with two cars and a colour TV’ are not part of the working class. We are made to feel that we can rise or fall in society through what we are able to buy, and this obscures the actual class basis which still underlies social position.


The fundamental differences in our society are class differences, but the use of manufactured goods as means of creating classes or groups forms an overlay on them.


Williamson (1978) ‘Decoding Advertisements’


Adorno ‘On Popular Music’ Particularly like writing about music.


STANDARDISATION - Same beats, instruments, does your thinking for you
PSEUDO-INDIVIDUALISATION
‘SOCIAL CEMENT’ - locked into your social position
PRODUCES PASSIVITY THROUGH ‘RHYTHMIC’ AND EMOTIONAL ‘ADJUSTMENT’ - reduces your capacity for free thought.  Limited engagement. regulate behaviour Early dance music insistent rhythm are akin to the rhythm of the factory. Emotional escape does not encourage you to change your world. Joy Division - introspective, kill yourself.
If culture is mass produced becomes lost forever.
An idea that the 'real' culture hat has been lost that would make you 'think', independent from mass culture and systems.


Walter Benjamin - Slightly different take, more positive. EG Mona Lisa if can be reproduced -  what happens to its value and cultural importance.
Previously have to queue up to see Mona Lisa at Louvre and you meet the work on the Galleries terms, Benjamin says reproduced objects detaches the reproduce object from the Galleries and taste makers context into your own context, in your home.  Liquidates cultural traditions. Challenge meaning of the original. Allowed democratically in and challenging high culture. The Aura starts to reduce. An opportunity in and amongst the mass production allows you to define your own meaning.


‘The Work Of Art In The Age Of Mechanical Reproduction’
1936


‘One might generalise by saying: the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence. And in permitting the reproduction to meet the beholder or listener in his own situation, it reactivates the objects produced. These two processes lead to a tremendous shattering of tradition… Their most powerful agent is film. Its social significance, particularly in its most positive form, is inconceivable without its destructive, cathartic aspect, that is, the liquidation of the traditional value of the cultural heritage’





Arnoldist approach was popular until the 60's until The Birmingham School emerged  - Dick Hebdige - The first to seriously look at culture being commodified and working class culture being radical and new. Subculture and the meaning of style - Young people challenge the main stream - Mods challenge, Punks symbolic challenge capitalist systems, spoke for working class overthrow the system.  But creates new industries and become marketed. 'The best of' The idea of punk. Incorporation, neutralised.  Analysis of popular culture being radical.  Stuart Hall Angela McRobbie female sub culture


‘Youth cultural styles begin by issuing symbolic challenges, but they must end by establishing new conventions; by creating new commodities, new industries, or rejuvenating old ones’



The original album 1977


The collection 2005






The Centre for Contemporary Cultural Studies (CCCS) was a research centre at the University of Birmingham. It was founded in 1963 by Richard Hoggart, its first director. Its object of study was the then new field of cultural studies.
The Centre was the locus for what became known as the Birmingham School of Cultural Studies, or, more generally, British cultural studies. Birmingham School theorists such as Stuart Hall emphasized the reciprocity in how cultural texts, even mass-produced products are used, questioning the valorized division between "producers" and "consumers" that was evident in cultural theory such as that of Theodor Adorno and the Frankfurt School.





Conclusion
The culture & civilization tradition emerges from, and represents, anxieties about social and cultural extension. They attack mass culture because it threatens cultural standards and social authority.
The Frankfurt School emerges from a Marxist tradition. They attack mass culture because it threatens cultural standards and depoliticises the working class, thus maintaining social authority.
Pronouncements on popular culture usually rely on normative or elitist value judgements
Ideology masks cultural or class differences and naturalises the interests of the few as the interests of all.
Popular culture as a site of ideology - Whilst consuming this disguises class differences.  Hidden politics to all cultural artefacts.
The analysis of popular culture and popular media is deeply political, and deeply contested, and all those who practice or engage with it need to be aware of this.

Key quotes


‘In the social production of their life men enter into definite, necessary
relations that are indispensable and independent of their will, relations of
production which corresponded to a definite stage of development of their material
productive forces. The sum total of these relations of production constitutes the
economic structure of society, the real foundation on which rises a legal and
political superstructure and to which correspond definite forms of social
consciousness. The mode of production of material life conditions the social,
political and intellectual life process in general. It is not the consciousness of men
that determines their being, but on the contrary it is their social being that
determines their consciousness.
At a certain stage in their development, the material production forces of
society come into conflict with the existing relations of production, …From forms
of development of the productive forces, these relations turn into their fetters.
Then begins an era of social revolution.
With the change in economic foundation the whole immense
superstructure is more or less rapidly transformed. In considering such
transformations it is always necessary to distinguish between the material
transformation of the economic conditions of production, which can be
determined with the precision of natural science, and the legal, political,
religious, artistic or philosophic, in short, ideological forms in which men become
conscious of this conflict and fight it out.’
Marx, (1857) ‘Contribution to the critique of Political Economy’


‘[ The ruling class has ] to represent its interest as the common interest of
all the members of society, …to give its ideas the form of universality, and
represent them as the only rational, universally valid ones.’
Karl Marx, (1846) The German Ideology,


‘The working class…raw and half developed…long lain half hidden
amidst it’s poverty and squalor… now issuing from it’s hiding place to assert an
Englishmans heaven born privilege to do a she likes, and beginning to perplex us
by marching where it likes, meeting where it likes, breaking what it likes.
Matthew Arnold (1960) Culture & Anarchy


‘This form of compensation… is the very reverse of recreation, in that it tends,
not to strengthen and refresh and the addict for living, but to increase his unfitness
by habituating him to weak evasions, to the refusal to face reality and all’
F.R.Leavis & Denys Thompson, (1977) Culture And Environment


‘Movies and radio need no longer to pretend to be art. The truth, that they
are just business, is made into an ideology in order to justify the rubbish they
deliberately produce. … The whole world is made to pass through the filter of the
culture industry. …The culture industry can pride itself on having energetically
executed the previously clumsy transposition of art into the sphere of
consumption, on making this a principle . … film, radio and magazines make up a
system which is uniform as a whole and in every part … all mass culture is
identical.’
Theodore Adorno and Max Horkheimer (1944) Dialectic of Enlightenment,




‘The irresistible output of the entertainment and information
Industry carry with them prescribed attitudes and habits, certain intellectual and emotional reactions which bind the consumers more or less pleasantly to the
producers and, through the latter, to the whole. The products indoctrinate and
manipulate; they promote a false consciousness which is immune against its falsehood. … it becomes a way of life. It is a good way of life – much better than
before – and as a good way of life, it militates against qualitative change. Thus
emerges a pattern of one dimensional thought and behaviour in which ideas,
aspirations, and objectives that, by their content, transcend the established
universe of discourse and action are either repelled or reduced to terms of this
universe.’
Herbert Marcuse, (1968) One Dimensional Man


‘One might generalise by saying: the technique of reproduction detaches the reproduced object from the domain of tradition. By making many
reproductions it substitutes a plurality of copies for a unique existence. And in
permitting the reproduction to meet the beholder or listener in his own
situation, it reactivates the objects produced. These two processes lead to a
tremendous shattering of tradition… Their most powerful agent is film. Its social
significance, particularly in its most positive form, is inconceivable without its
destructive, cathartic aspect, that is, the liquidation of the traditional value of the cultural heritage’
Walter Benjamin (1936) The Work of Art In The Age of Mechanical
Reproduction


[…] in our society, where the real distinctions between people are created
by their role in the process of production, as workers, it is the products of their
own work that are used, in the false categories invoked by advertising, to
obscure the real structure of society by replacing class with the distinctions
made by the consumptions of goods.
Thus, instead of being identified by what they produce, people are made
to identify themselves by what they consume. From this arises the false
assumption that workers ‘with two cars and a colour TV’ are not part of
working class. We are made to feel that we can rise or fall in society through
what we are able to buy, and this obscures the actual class basis which still
underlies social position.
The fundamental differences in our society are class differences, but the
use of manufactured goods as means of creating classes or groups forms an
overlay on them.
Judith Williamson (1978) ‘Decoding Advertisements’


‘Youth cultural styles begin by issuing symbolic challenges, but they must
end by establishing new conventions; by creating new commodities, new
industries, or rejuvenating old ones’
Hebdige, D (1979) ‘Subcluture: The Meaning of Style’