As An Efficient Organization, Cultural Enterprise Is The

The culture industry affects everything in today’s society. Adorno states, “The whole world is passed through the filter of the culture industry” (99). Everywhere people go, there are billboards, commercials, and advertisements that demand their attention. Before seeing a movie, one must sit through previews of other movies that may interest them, as the theater hopes that the moviegoer returns to watch another movie. In the culture industry, people no longer exist as individuals. They only exist as objects that increase the wealth of the big business owners that control this capitalistic society. Because no one contests the existence of the culture industry, the culture industry can continue to exist. About the film and radio industries, Adorno states, “They call themselves industries, and the published figures for their directors’ incomes quell any doubts about the social necessity of their finished products” (95). Creating unique and groundbreaking films in today’s world is considered “risky,” and filmmakers would rather create sequels to films that were successful in the box office. People excitedly consume these sequels and the directors make huge profits, thereby ensuring yet another sequel to be made. Adorno also points out that the film and radio

Throughout human history people used to capture the reality of their time, express their feelings and share their impressions by copying both literally or figurative the mundane. The so-called artists have had different impacts in society all along the centuries. Only a few are currently taught in school, although the reverberation of their work is still impregnated in XXI Century. Nowadays, the term ‘artist’ can be used in reference of painters, sculptors, writers, singers, choreographers and other professions whose production are considered valuable culturally speaking. One of the main problems is that their work produce such a magnificent impact on the audience the artist is set aside and usually forgotten as a person, so they feel their rights to be violated.

Creativity, the creative expressions in various forms of art and in new ideas, as well as the creative production of scientific and technological change, is what has shaped and influenced the world’s history

Their art is considered a superstructure that provides many traits that are common to their social ideologies, and the charter for which they process. It serves the unique purpose to exhibit a dissemeination from education, and allow viewers to witness a aesthetic value that provides a spirit were harmonious desires that became history as well as reality.

In today 's society, culture is impacting our everyday life, experience and social relations; we are all categorized by our cultural “groups”, but this has changed rapidly throughout the years from one generation to the next. Cultural studies were developed in the late 1950’s, through the 1970’s by the British academic scholars. The British scholars were able engaged cultural analysis and the developed then transformed of the different fields, for example, politically, theoretically and empirically that are now represented around the world.

(2013). Why the arts don't do anything: Toward a new vision for cultural production in education. Harvard Educational Review, 83(1), 211 236, 265. Retrieved from https://login.ezproxy.socccd .edu/login?url=http://search.proquest.com/doc view/1326778756?accountid=39855

This dissertation is dedicated to all the Artists in the world who believe that the Arts are agents of social development, cooperation, solidarity, and tolerance, even when their lives confront the injustices of the system.

The Hofstede Centre (n.d.) defines culture as the “collective mental programming of the human mind which distinguishes one group of people from another.” Chipulu, Ojiako, Gardiner, Williams, Mota, Maguire, Shou, Stamai, and Marshall (2014), note that “culture can be at once tangible and observable; latent and unobservable; or even an abstraction altogether” (p. 367). Culture therefore has many dimensions. Some aspects of culture can be observed by analyzing symbols, ceremonies, dress, and other aspects. On the other hand, some aspects are not observable from the outside, but have to be experienced. Looking only from the outside gives us only a glimpse into the culture values. A large part of culture is the unwritten rules of how things are done. This part of culture is not necessarily observable to an outsider. To fully understand the cultural values of an organization, you need to be inside the organization with access to those with years of work experiences.

Bourdieu argues that cultural capital can occur in one of three forms: the embodied state, which relates to stable dispositions, the objectified state, which relates to cultural goods such as books and pictures, and the institutionalised state, which relates to educational qualifications. According to Bourdieu, the institutionalised state must be taken separately, because of the unique effects of

According to Theodor W. Adorno in The Culture Industry: Enlightenment as Mass Deception, the culture industry is the entertainment business. “The whole world is made to pass through the filter of the culture industry” (1113). While people are consuming products from the entertainment manufacturers “with alertness even when the customer is distraught,” real life is not becoming indistinguishable from the movies (1113). The majority of consumers are able to distinguish products from the entertainment manufacturers such as movies, TV shows, radio and books from reality.

Global Business Cultural Analysis: South Africa Raymond J. Landis BUSI 604-D06 LUO – International Business Professor – Dr. Stephen P. Preacher Liberty University May 13, 2011

Cultural capital is the cultural aspects that give a person a higher status in society; this can be in the form of education, taste, knowledge, skills, etc. The cultural habits and dispositions inherited from family are an individual’s cultural capital; the education they receive and the culture they are brought up in provides them with cultural capital. Bourdieu maintained that cultural capital was an extremely important type of capital, and cultural capital was important capable of giving an individual a much higher status in society. Bourdieu argues that cultural capital exists in three forms; in its embodied state, which refers to the cultural capital that is inherited and developed over time, through socialisation and family upbringing. It is not transferable to others. Cultural capital also exists in its objectified state, which refers to material objects which are owned; cultural goods such as valuable heirlooms or works of art that provide cultural capital but can also be sold for economic profit. Cultural capital also exists in the form of institutionalized capital, which is defined as institutional recognition, which is often in the form of academic qualifications. This form of cultural capital also can be used for economic gain, as an individual with high institutionalized cultural capital is able to obtain better employment in the

The relationship between art and commerce has always been subject of hot discussion. Many people look at creativity as a vehicle for economic interest, while others view it as pure dedication for personal creative needs. The world as we live in today sees the creative industry, including visual and performing arts, sound recording, book publishing, and movie making, a highly commercialized global enterprise. People constantly buy and sell art products in a highly active market. Although it is difficult to conclude whether art and commerce is perfectly compatible or mutually exclusive, one thing is true, that the relationship between the two has not stayed constant throughout the history of art. From the early Renaissance period to contemporary and modern time, we see art gets intertwined with business more and more. There are multiple well known historical examples demonstrate the dynamic evolution of creative expression, though new system also brought challenges.

In 1944, Theodor Adorno and Max Horkheimer, members of the Frankfurt School who fled from the Nazi Germany to the USA, were publishing their seminal essay ‘The Culture Industry: Enlightenment as Mass Deception’. Political critique, their thesis about the ideological domination of capitalism on cultural production is one that persists today and is regularly renewed (Mukerji & Schudson, 1991). Yet, since the first half of the twentieth century, evolutions have occurred within the ‘Culture Industry’, and while the theory – focusing primarily on the music and cinema industries – is still applicable to some features of contemporary ‘cultural industries’ (Hesmondhalgh, 2007), these changes require a contemporary reconsideration of it.

As we move into the third millennium, we are embarking on a global cultural revolution. Business, much more than governments or non-governmental organizations (NGOs), will be in the driving seat. Paradoxically, this will not make the transition any easier for business people. For many it will prove gruelling, if not impossible.