Sunday, 20 May 2012

Hills, Matt (2002) Fan Cultures.London: Routledge.


In Matt Hill’s book on fan culture he emphasises the importance of moving away from fan studies that just take on the opinion of the fan, which would obviously take on their own bias and understanding and move toward an approach that incorporates ‘tastes, values, attachments and investments’.

From this we would be able to take a better understanding of everything that encompasses being a fan. Just because someone says they are a fan doesn’t mean they will be able to articulate exactly why.

Stuart Hall ‘Notes on Deconstructing the Popular’ in Storey (2007) Cultural Theory and Popular Culture: a Reader. London: Pearson


When Hall tries to deconstruct ‘the popular’ he comes into difficulty. He tries to break the terms down and re-define them, starting with where the most drastic changes in popular culture – the industrial revolution. In this reading, Hall seems to be almost thinking out loud onto the page, he uses the word I a lot, which is unusual for such an academic text.
The three definitions of popular that I understood from the text were:
Defined by consumer – something is defined as popular through how much it is consumed and commercially popular. In this view, the audience is seen as passive and will simply consume anything that is given.
Defined by what people do – something is defined as popular through how much people have done or still do things.
Defined as a cultural struggle - this is Hall’s own definition, he believes that the popular is imbedded into everything people do within a culture and society. It is ever changing and can change instantly.

Berger, Arthur Asa (2010) The Objects of Affection: Semiotics and Consumer Culture. London: Palgrave MacMillan, pp33-54.


Featherstone’s three components of consumer culture:
-First is the view that consumer culture is premised upon the expansion of capitalist commodity production, which has given rise to a vast accumulation of material culture in the form of consumer goods and sites for purchase and consumption. Has increased the capacity for ideological manipulation and ‘seductive’ containment of the population from some alternative set of ‘better’ social relations. 
-Secondly there is the more strictly sociological view that the satisfaction derived from the goods relates to their socially structured access in a zero sum game in which satisfaction and status depend upon displaying and sustaining differences within conditions of inflation. Focuses upon the different ways people use goods to create social bonds or distractions.
- Thirdly there is the question of the emotional pleasures of consumption, the dreams and desires which become celebrated in consumer cultural imagery and particular sites of consumption, which variously generate direct bodily excitement and aesthetic pleasure.
- Those who own the means of production in consumer cultures have to change people’s attitudes from ideas that focus on thrift and saving to ideas that focus on consumption.
-Bernay’s argument builds upon this. ‘If we understand the mechanism and motives of the group mind, it is not possible to control and regiment the masses according to our will without their knowing it. Mass psychology is yet far from being an exact science and the mysteries of human motivations are by no means all revealed. But at least theory and practice have combined with sufficient success to permit us to know that in certain cases we can effect some change in public opinion… by operating a certain mechanism’- Does PR have the ability to shape a society’s collective consciousness without anyone in that society realising what has happened? Seems to be evidence that at least in certain areas, involving purchases of products and goods, something similar to what Bernays is writing about has taken place.
-Protestant ethic has lead to the development of consumer culture long before advertisers began to manipulate people, Protestant theology began to dissuade people from the value of asceticism and poverty and convince them that God wanted people to enjoy life and that consumption was divinely inspired. Calvin glorified hard work and using time profitably, so people could earn money and thus be able to consume, as God wanted them too. This theology led to providing a hardworking and diligent workforce, who believed that their place in society and in the scheme of things was determined by God and was a matter of divine providence.
-Psychoanalytic perspective on consumer culture is that the fundamental aim in life is to live and to live pleasurably. In order to achieve this, each of us tries to deal with and dispose of destructive forces in himself, venting, diverting and using them in such a way as to obtain the maximum security he can in life- and pleasures to boot- an aim which we achieve by infinitely various, subtle and complicated adaptations. Each of us has an unconscious need for material things and the financial and psychological benefits that lead to our getting and having things can never be satisfied. Having things is an instinctive need to feel alive and good.
-Marxist perspective on advertising takes a different approach. Its not consciousness that determines society but society that determines consciousness. Consumer Cultures are the way the ruling classes divert the proletariat (the masses) and prevent them from developing a class consciousness and from thinking about political change and revolution. There is a connection between ‘alienation’ and consumer culture. Through ‘forced labour’ by the workers, leads on to alienation and self conscious and self acting commodities. Marx says everyone in capitalist socities is alienated, for those who are the members of the ruling classes are also alienated and always worried about political changes that might impinge on their domination. It is alienation that Marx argues leads people into consumer culture, for it is only when they purchase things that they find momentary gratification and escape from the alienation that plagues them. Advertising may sell products but at the same time it sells the capitalist social order that makes it possible for workers to participate in consumer cultures. Advertising works by generating dissatisfactions and anxieties in people and feeds on the alienation that pervades capitalist societies. It assuages these feelings by focusing attention on private consumption thus people are lead away rom paying attention and thinking about the way the ruling classes dominate capitalist societies and the grossly unequal distribution of wealth found in them. Advertising also promotes narcissism, leads people to focus on their own personal wants or desires and to neglect social and political matters and the needs of others. In consumer societies it is private consumption that dominates, not expenditures for the good of the community.
-Products can be hyper real in that signs now take on a life of their own and tend to be the primary determinants of social experience. Signs and codes replace reality and the world is experienced through images to the point where the real as something different from the image disappears. A world of ‘hyper-reality’ is created in which everything in the world is simulated in the sense that models created by images replace the real.

Tuesday, 20 March 2012

Paul Long and David Parker (2004) ‘The Mistakes of the Past’? Visual Narratives of Urban Decline and Regeneration’ in Visual Culture in Britain,Vol.5, No.1, pp. 37-58

Birmingham has changed as post-war architecture is woven into personal memories and belatedly accorded recognition through the aestheticization of a landscape normally viewed with contempt.  A series of ‘twentieth century’ visions of what a good city should look like and how it should function were buried. Notable is the ease with which familiar images are deployed in visual narratives to both promote and make sense of change. Unappealing urban vistas eg concrete car parks, ring rounds and underpasses conjure up reflex feelings of shame and embarrassment among the local population.

A skyline has major relevance in that it traces the visual signature of a cities identity, it offers an immediate reading of its ambition, modernity and novelty through which economic, social and aesthetic meanings are signified. Urban imaginaries are constituted by visual narratives- summary readings of history and futurity encoded in the skyline, both as it is and how it may be.

The methodology behind the redevelopment employed is the dynamic change in market-driven redevelopment. Force observed, ‘successful urban regeneration is design-led??

The four landmarks identified are The Rotunda, Post Office Tower (BT Tower), Birmingham Central Library and The Bullring. However these posed problems such as failure to sustain the original planning and intervention, maintain the new structures and support the innovations they were built to create. The Bullring failed in an unworkable new concept in car parking and shopping was plagued by their internal complexity (five levels). The Rotunda proved notoriously difficult to let, heat and ventilate, symbolised Birmingham’s half hearted architectural ambition when the digital clock built to illuminate the summit went out after illumination in the 80’s never to be relit again. The post office tower was designed with the idea of public access to the top but dismissed out of hand, there was no demand to go and look at the panorama of Birmingham. Birmingham Central Library design of a building finished in marble was never carried through and the area around the library was left underdeveloped due to recession. 

Wednesday, 29 February 2012

Storey (2007) Cultural Theory and Popular Culture. London: Pearson, pp181-211.


Hebdige describes Postmodernism as difficult to construct as it has been used in so many different debates and discourses, he describes postmodernism as a ‘Buzzword’.

New Sensibility is the idea that the distinction between high and low culture is less meaning full.

Lyotard believes that the postmodern condition is marked by a crisis in status of knowledge in western society e.g. collapse and rejection of all framework, Marxism, Christianity for example. The Postmodern condition is an ‘anything goes’ culture, a culture of slackening where taste is irrelevant and money the only sign of value. Postmodernism is that which breaks with one modernism to form a new modernism.

Baudrillard claims that we have reached a stage in social and economic development in which ‘it is no longer possible to separate the aconomic or productive realm from the realms of ideology or culture since culture artefacts, images and representations have become part of the world of economic. Shift in society from the production of things to the production of information.

Jameson argues that Postmodernism is a culture of pastiche.

Post Structuralism- response to structuralism, objection of grand narrative.
-Death of the Author
-Discourse
-Postmodernism

Postmodernism= after modernity
Modernity= an period
Modernism= an attitude
- A Philosophy
- A time-period
-An aesthetic

What is Postmodernism?
Death of History
Death of Meaning
Intertexuality
Collapse of Cultural Boundaries
Death of the Subject
Spectacle

Monday, 20 February 2012

Adorno, Theodor (2007) ‘On Popular Music’ in Storey, John (ed) Cultural Theory and Popular Culture: a Reader. London: Pearson.


Within this text Adorno outlines ‘two spheres of music’  as ‘serious’ (non standardised) and ‘popular’ (standardised) music. Along with FR Leavis (1933), Adorno sees the standardisation as the structure of this type of media that is fed to the masses. The standardisation is not simply in the way music is produced but also in the way that it is received by the masses. The best known rule according to Adorno, is that a chorus consists of 32 bars and that the range is limited to one octave and one note.

The reasons for the standardization, according to Adorno, come not from the methods of production like ‘cars and breakfast foods’, but from the demands of the listener. The masses want relief from boredom and effort simultaneously and popular music works for this reason because it is ‘patterned and pre-digested’ – as mentioned before, we know the frameworks of a song before hearing it.

Adorno also looks at the ‘emotional’ listener who identifies with the celebrities formed through popular music. When you look at the celebrities around today who make ‘music’, it is often the construction of the singer/celebrity that catches the emotion of the listener, rather than the music itself. For example Justin Biever and One Direction could be a good example of this.

Frankfurt School Critique Popular Music

Though we studied The Music Industry to some extent in class I have chosen to focus on this for my Frankfurt School Critique again as this is where my interest lies. The particular text I have chosen to focus on is The X Factor. The reason I have chosen this particular media text is due to its control and commercialisation within my chosen industry.

Within The X Factor there are many notions of standardisation from the structure of the show, the contestants and the output and marketing of the 'winners'. The outset of the show starts with the 'auditions' leading on to a stage at the judges houses, before the infamous live shows. I think in terms of the Music Industry the final product of the 'talent' competition is the most interesting particularly in the last three years or so.

Pseudo Individualisation refers to Adorno's critique of mass culture, and is the means by which standardisation of mass produced media is disguised.