By Dominic Strinati
An creation to Theories of pop culture is widely known as an immensely necessary textbook for college students taking classes within the significant theories of pop culture. Strinati presents a severe review of the ways that those theories have attempted to appreciate and overview pop culture in smooth societies.
Among the theories and ideas the e-book introduces are: mann tradition, the Frankfurt institution 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 resources for An introduction to theories of popular culture
Two further points emerge out of this problem. The first is that mass culture theory lacks an adequate understanding of social and cultural change. It registers and criticises the appearance of mass culture but fails to explain it. In this sense, it limits itself in not fully understanding something it attacks. Inevitably, this limits both its explanatory and its critical power. It is not enough to say mass culture is a consequence of industrialisation because a more precise argument about the links between the two is needed for an adequate explanation to be sustained.
None the less, Hebdige’s argument provides an effective contrast to that offered by Hoggart, and the comparison highlights some of the interesting problems associated with the analysis of the Americanisation of popular culture. Hebdige also begins to outline some of the difficulties confronted by mass culture theory. The debate about Americanisation has continued on into the 1970s and 1980s and has focused, for example, upon the threats posed to national cultural identities by popular American television programmes.
He continues: ‘it is perhaps the final irony that when it did occur the most startling and spectacular revolution in British “popular” taste in the early 1960s involved the domestication not of the brash and “vulgar” hinterland of American design but of the subtle “cool” Continental style which had for so many decades impressed the British champions of the modern movement’ (1988:75). : 76). The contrast between elitist and populist evaluations of Americanisation is made evident for Hebdige by the example of the spy novel, which he also uses to show how ‘foreign’ cultural influences, other than those deriving from America, were crucial to subcultures and to popular culture more generally.
An introduction to theories of popular culture by Dominic Strinati