Culture Industry : Enlightenment As Mass Deception

Good afternoon/morning ladies and gentlemen. Consumerism is defined by the English oxford dictionary as continual expansion of one's wants and needs for goods and services. Bruce Dawes’ poems “Televistas” and “Enter Without So Much As Knocking” critique the powerful and persuasive influence that companies have on our society.

With the proposed concepts, such as branding in commercialism, High Culture/Low Culture, and the false promises made in uniform products, one is granted to see today’s society as hovering closely to a capitalistic system set up to facilitate the vast desires of the masses. As Adorno and Horkheimer bluntly put it, “personality scarcely signifies anything more than shining white teeth and freedom from body odor and emotions” (71). We can only think of ourselves as just another gear in the American machine, churning away endlessly and waiting to be fed with the uniformity of culture, the greed, manipulation, and

Born in 1903, Theodore Adorno is one of the most prominent figures in the Frankfurt school of communications, a school of social theory and philosophy which studied the effects and structure of the media. In 1945, Adorno published one of his most famous articles, “A Social Critique of Radio Music”. In his somehow controversial essay, Adorno claims that the music played on the radio reflects broader social behavior patterns, that benefits the power elite and numbs the masses. Adorno goes on and state four axioms he believed to be true regarding the existing capitalist society, including how we live in a society of commodities. The main problem he dissects in his article, is that now music is being treated as a commodity as well. Further,

In his work, Dialectic of Enlightenment, Theodor Adorno analyzes the nature of the culture industry. People everywhere are constantly being consumed by the culture industry, which is a term for the mass production of cultural goods such as films, magazines, and music. Adorno is concerned that the government uses the cultural industry as a way to deceive the masses and manipulate them into passivity. This idea remains true in today’s society. Young men and women are more interested in the release of the newest Taylor Swift or Adele song than political issues. People have become less intellectual as they are being consumed by the culture industry. It is much easier for a person to let himself be consumed by mass media and to let the media

In the text Adorno and Horkheimer primarily focuses on the issue of art such movies, radio program and etc becoming a commodity and the fusing of the market and art areas. The criticism of the culture industry stems from the fact that for Adorno and Horkheimer culture held the answer for liberation, however the mass produced culture that they found in America was instead enslaving people. Adorno and Horkheimer’s argument regarding mass culture produced products and its effects and commoditization of art remain important to contemporary society because these issues have continued to have a negative effect on contemporary society this can be observed by analyzing contemporary mass culture products such as television, movies and the internet.

There is an undoubtedly enormous influence on the world by consumerism. Consumerism and capitalism shape the nation that we live in today. Everyone knows this because they see advertisements all day long on television, on the radio, on billboards and through hundreds of other mediums. Unfortunately, what the world is not exposed to is what goes on behind the marketing and the ultimate final sale. There is a dark side to capitalism created not only by shady merchants, but the worldwide multi-national companies as well. What both of these excerpts portray is the idea that there is more to the products we buy than we are told, or unfortunately, that we bother to ask about. Through the use of interviewing, traveling, and criticism, these

Another reason why the consumers of texts hold power over the producers is simply the copious amount of texts that are made available to them. This increase in the choice between media and within media has led to development of narrowcasting and niche audiences. With the advent of mass consumerism and technology, the production of texts have skyrocketed, leaving the audience spoilt for choice. Raymond Bauer (1964) placed an emphasis on choice that was anchored in and ensured by an independent, even obstinate, audience. “The active "individual" was a modern citizen-consumer patrolling the periphery of his or her consciousness with a vigilant consumerism” (Biocca, n.d.). Bauer (1964) felt that the consumers could not

History 's records often overlook ordinary people, but collectively, they make significant and abiding social change. A social and economic order within America propelled, perhaps unconsciously, by the people, is consumerism. Originating in the nineteenth century, consumerism revolutionized the way individuals thought, behaved, and interacted with each other. Coming into full bloom during the Industrial Revolution, consumerism fueled a new desire for material goods, unnecessary for and unrelated to basic survival. The idea for mass production, a cheaper and more profitable means of consumption, arose with the presence of advancing knowledge and technological power. The businessmen in charge of the industry at the time quickly put together that the financial success of mass production, required mass consumption. Consequently, a means for mass communication needed to be devised. And so, advertisement and media, the vehicles and instruments for consumption, were born (Ewen 2).

As we are constantly exposed to mass media and popular culture in our modern society, the insidious nature of consumerism has allowed it to penetrate into every aspect of our lives, dictating our very beliefs, values and wants. Nearly every individual in our society subconsciously conforms to the shallow and superficial mindset that characterises our consumerist culture. This idea is highlighted by the following texts; the poem “Enter without so much as knocking” by Bruce Dawe, an extract from the sermon “The Religion of Consumerism” delivered by Peter House, the poem “Breakthrough” by Bruce Dawe, and the

“The Culture Industry: Enlightenment as Mass Deception” by Theodor Adorno and Max Horkheimer is a pivotal article in history that changed the way in which many communications scholars viewed media. Both authors were members of the Frankfurt School, a school of thought which looked further into Karl Marx’s theories about capitalism and the issues of mass production. Published in 1944, Adorno and Horkheimer revealed their beliefs that the media, much like the economy, is becoming mass produced, and is therefore turning people in society into media-consuming robots. Industrialization created work lives for people in which they would work on only one part of a larger machine. As a result, they felt less involved in the completion of the project as a whole, and therefore felt less pride in their jobs and their lives in general. Instead, these people turned to media and pop culture so that they would feel more fulfillment within their lives. Adorno and Horkheimer believed that these people had a reduced capacity for original thought because media is now force feeding them the ideas of what they can think and feel. This essay will prove that although Adorno and Horkeimer’s points were justified through the eyes of authors George Lipsitz, Lev Manovich, and Susan J. Douglas, there are still exceptions to their theories that they do not account for.

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.

This essay will evaluate Adorno’s critical attack on popular music. The essay will briefly provide some context on Adorno. Adorno claims that “listeners are made not born”, thus listening is a cultural practice, in which modernity has transformed into a profit (Adorno, 2002:248). By this, the essay will begin by focusing on the broader idea of the culture industry, in terms of commodities and popular music as not being critical. Following on, particular focus will be given to three main areas which convey Adorno’s criticism of popular music. These being, the musical form under standardisation, pseudo-individualisation and regressive listening in terms of escapism. Standardisation will be evaluated in structural terms, and critiqued by Middleton (1990) and Witkin (2003). Adorno’s critique of popular music can only be understood in relation to his analysis of serious music, therefore, the essay will focus on both types of music. Adorno’s criticisms of popular music and critics of this criticism, will enable for a conclusion to be drawn on whether or not I agree with Adorno’s claims on popular music.

Consumerism is a description of society’s lifestyle in which many people embrace to achieve their goals by acquiring goods that they clearly do not need (Stearns, 7). The idea that the market is shaped by the choice of the consumers’ needs and wants can be defined as a consumer sovereignty (Goodwin, Nelson, Ackerman, Weisskopf, 2). This belief is based on the assumption that the consumer knows what it wants. Contrary to this logic, marketers convince us that the consumer does not know what they want. The consumer has to be told what they want or be persuaded by advertising items in a matter that demonstrates the reason a product makes their life easier or will improve their life instantly. As one of the most successful entrepreneurs,

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.

Media influence is the force by which ideas are injected into people’s lives shaping the very culture of society. This influence is masqueraded through hidden media message, resulting in a change in its audience which can be positive or negative, abrupt or gradual, short term or long term. Although mass media’s influential effect can reach a wide ranged audience as an agent of socialization the responsibility to contain what it releases has not been of importance. “The media’s socially significant obligations are formally ignored.” (A.S. Zapesotskii, 2011, p 9). Media messages can be exerted through many different outlets such as TV shows, music, movies, commercials, news, magazines, games which are all gravitated to entertain audiences ultimately offering personal gratification that can sometimes blur the lines between reality and