An Introduction to Theories of Popular Culture, 2nd Edition by Dominic Strinati

By Dominic Strinati

An advent to Theories of pop culture is well known as an immensely valuable 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 assessment pop culture in sleek societies. one of the theories and concepts 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 ebook.

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For example, the ‘mods’, a young working-class subculture based in the central areas of large cities which emerged first in the early 1960s, borrowed as much from Italy (suits and scooters), as they did from black American popular culture (modern jazz and soul music). In fact, Hebdige quotes the anonymous working-class spy hero of Len Deighton’s first novel, The Ipcress File, in this context. He notes that ‘until the 1960s the romantic affirmation of American culture tended to be left to such unashamedly “popular” weeklies as Titbits and to the undergrowth of literature—the novelettes, comics and Hollywood ephemera— which were aimed at a predominantly working-class market’.

To answer these questions adequately we need to see audiences as socially and culturally differentiated, and to recognise that cultural taste is socially constructed. We also need to acknowledge that audiences may be more knowing, active MASS CULTURE 45 and discriminating in their consumption of popular culture than has usually been conceded by popular culture theory.

He notes that plays are now produced mainly to sell the movie rights, with many being directly financed by the film companies. The merger has standardised the theatre MASS CULTURE 17 expunging both the classical and the experimental… and…the movies…too have become standardised…they are better entertainment and worse art (MacDonald 1957:64–65) If it is the case that mass culture has threatened to unseat high culture and take over, where does this leave art and the avantgarde? What role if any can they play in the era of mass culture?

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