The Culture Industry Revisited

Adorno viewed mass culture as commodified - produced to be sold on the market and without aesthetic value. Here, Deborah Cook critically examines this view and argues that even in Adorno's "pessimistic" theory, mass culture can be understood as potentially liberating.

A discussion of Theodor Adorno’s Aesthetic Theory is bound to look significantly different today than it would have looked when the book was first published in 1970, or when it first appeared in English translation in the 1980s. In The Fleeting Promise of Art, Peter Uwe Hohendahl reexamines Aesthetic Theory along with Adorno’s other writings on aesthetics in light of the unexpected return of the aesthetic to today’s cultural debates. Is Adorno’s aesthetic theory still relevant today? Hohendahl answers this question with an emphatic yes. As he shows, a careful reading of the work exposes different questions and arguments today than it did in the past. Over the years Adorno’s concern over the fate of art in a late capitalist society has met with everything from suspicion to indifference. In part this could be explained by relative unfamiliarity with the German dialectical tradition in North America. Today’s debate is better informed, more multifaceted, and further removed from the immediate aftermath of the Cold War and of the shadow of postmodernism. Adorno’s insistence on the radical autonomy of the artwork has much to offer contemporary discussions of art and the aesthetic in search of new responses to the pervasive effects of a neoliberal art market and culture industry. Focusing specifically on Adorno’s engagement with literary works, Hohendahl shows how radically transformative Adorno’s ideas have been and how thoroughly they have shaped current discussions in aesthetics. Among the topics he considers are the role of art in modernism and postmodernism, the truth claims of artworks, the function of the ugly in modern artworks, the precarious value of the literary tradition, and the surprising significance of realism for Adorno.

Building on the work of Theodor Adorno and Walter Benjamin, Capitalizing on Culture presents an innovative, accessible, and timely exploration of critical theory in a cultural landscape dominated by capital. Despite the increasing prevalence of commodification as a dominant factor in the production, promotion, and consumption of most forms of mass culture, many in the cultural studies field have failed to engage systematically either with culture as commodity or with critical theory. Shane Gunster corrects that oversight, providing attentive readings of Adorno and Benjamin's work in order to generate a complex, non-reductive theory of human experience that attends to the opportunities and dangers arising from the confluence of culture and economics. Gunster juxtaposes Benjamin's thoughts on memory, experience, and capitalism with Adorno's critique of mass culture and modern aesthetics to illuminate the key position that the commodity form plays in each thinker's work and to invigorate the dialectical complexity their writings acquire when considered together. This blending of perspectives is subsequently used to ground a theoretical interrogation of the comparative failure of cultural studies to engage substantively with the effect of commodification upon cultural practices. As a result, Capitalizing on Culture offers a fresh examination of critical theory that will be valuable to scholars studying the intersection of culture and capitalism.

The creation of the Frankfurt School of critical theory in the 1920s saw the birth of some of the most exciting and challenging writings of the twentieth century. It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.

In the first half of the twentieth century, Theodor Adorno wrote about the 'culture industry'. For Adorno, culture too along with the products of factory labour was increasingly becoming a commodity. Now, in what they call the 'global culture industry', Scott Lash and Celia Lury argue that Adorno's worst nightmares have come true. Their new book tells the compelling story of how material objects such as watches and sportswear have become powerful cultural symbols, and how the production of symbols, in the form of globally recognized brands, has now become a central goal of capitalism. Global Culture Industry provides an empirically and theoretically rich examination of the ways in which these objects - from Nike shoes to Toy Story, from global football to conceptual art - metamorphose and move across national borders. This book is set to become a dialectic of enlightenment for the age of globalization. It will be essential reading for students and scholars across the social sciences.

The concept of culture industry leads a double life. On the one hand, it appears as transparent, being used widely and freely in reference to a branch of business; on the other, it is a notion belonging to a critical tradition that wants to preserve the tension resulting from the juxtaposition of these two words. Culture Industry Today is a contribution to the latter trend, which takes into account the current prevalence of the former. By offering interpretations of the term in relation to philosophy, media, television, the Third World, the psyche and the culture of consumption, the book aims at showing the continued relevance of an expression whose muteness is the corroboration of its darkest content.

Consumption has become one of the leading topics across the social sciences and vocational disciplines such as marketing and business studies. In this comprehensively updated and revised new edition, traditional approaches as well as the most recent literature are fully addressed and incorporated, with wide reference to theoretical and empirical work. Fine's refreshing and authoritative text includes a critical examination of such themes as: * economics imperialism and globalization * the world of commodities * systems of provision and culture * the consumer society * public consumption. This book presents an updated analysis of the cluttered landscape of studies of consumption that will make it required reading for students from a wide range of backgrounds including political economy, history and social science courses generally.

Adorno is often left out of the &“canon&” of influences on contemporary feminist theory, but these essays show that his work can provide valuable material for feminist thinking about a wide range of issues. Theodor Adorno was a leading scholar of the Institute for Social Research in Frankfurt, Germany, otherwise known as the Frankfurt School. With Max Horkheimer he contributed to the advance of critical theorizing about Enlightenment philosophy and modernity. Inflected by Kant, Marx, Nietzsche, and Freud, Adorno&’s thinking defies easy categorization. Ranging across the disciplines of philosophy, musicology, and sociology, his work has had an impact in many fields. His Dialectic of Enlightenment (written with Max Horkheimer) was profoundly influential as a critique of fascistic and authoritarian impulses in Enlightenment thinking in the context of late capitalism. Questions addressed in the volume range from dilemmas in feminist aesthetic theory to the politics of suffering and democratic theory. The essays are exemplary as works in interdisciplinary scholarship, covering a wide range of issues and ideas in feminism as authors critically interpret the many facets of Adorno&’s work. They take Adorno&’s historical situatedness as a scholar into consideration while exploring the relevance of his ideas for post-Enlightenment feminist theory. His philosophical and cultural investigations inspire reconsideration of Enlightenment principles as well as a rethinking of &“postmodern&” ideas about identity and the self. Feminist Interpretations of Theodor Adorno will introduce feminists to Adorno&’s work and Adorno scholars to modes of feminist critique. It will be especially valuable for senior undergraduate and graduate courses in contemporary political, social, and cultural theory. In addition to the editor, contributors are Paul Apostolidis, Mary Caputi, Rebecca Comay, Jennifer Eagan, Mary Ann Franks, Eva Geulen, Sora Han, Andrew Hewitt, Gillian Howie, Lisa Yun Lee, Bruce Martin, and Lambert Zuidervaart.