By Dominic Strinati
An advent to Theories of pop culture is widely known as an immensely important textbook for college kids taking classes within the significant theories of pop culture. Strinati offers a severe evaluate of the ways that those theories have attempted to appreciate and assessment pop culture in sleek societies.
Among the theories and ideas the ebook introduces are: mann tradition, the Frankfurt college and the tradition undefined, semiology and structuralism, Marxism, feminism, postmodernism and cultural populism.
This re-creation offers clean fabric on Marxism and feminism, whereas a brand new ultimate bankruptcy assesses the importance of the theories defined within the book.
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Extra info for An introduction to theories of popular culture
Another way of looking at this problem is to be found in Ang’s analysis (1989) of the ideologies used by viewers to account for their reasons for watching and evaluating the American television soap Dallas. She found those who disliked or hated the series, and those who watched but laughed at it from a carefully cultivated and ‘ironic distance’, were confident and secure in the judgements they made and the grounds upon which they could make them. However, those who liked the series tended to be far less confident about expressing and rationalising their preference.
Elitism also fails to recognise that mass culture can be understood, interpreted and appreciated by other groups in distinct, ‘non-elitist’ social and aesthetic positions within societies. On what basis can it be argued that some groups’ perception of popular culture is better or more valid than that of other groups? In the discussion of Americanisation, we saw how working-class evaluations of mass culture have, at times, been strikingly different from those made by mass culture critics. Elitist judgements fail to recognise interpretations of popular culture developed from alternative vantage points, and the value these alternatives possess.
It has little awareness of good taste, and is devoted to the repetitive formulas of mass culture. A number of criticisms can be made of this idea of the audience. First, is there any such thing as a mass audience? Producers of popular culture may not need to reach a mass audience, but sections of a market divided and stratified by tastes, values and preferences as well as money and power. The need for producers to maximise their audiences is a specific instance of cultural production and consumption, and not a guaranteed outcome in societies where mass consumption prevails.
An introduction to theories of popular culture by Dominic Strinati