If Women Actors Were Working . . .  

Oleh:

Dean, Deborah ; Jones, Campbell

Jenis: Article from Journal - ilmiah internasional
Dalam koleksi: Media, Culture & Society vol. 25 no. 4 (Jul. 2003), page 527-541.
Fulltext: 527MCS254.pdf (81.25KB)

Isi artikel

This tendency to focus on representation can be found clearly in ‘high theorists’ of the media, for example, in the work of critics such as Pierre Bourdieu (1999), Gilles Deleuze (1986, 1989) and Slavoj ? Zi?zek (e.g. 1991, 1993, 1999, 2001). There is scant mention of questions of production in journals such as Media, Culture & Society or in the literature in cultural, television, film, media and gender studies (see, for example, Buscombe, 2000; McQueen, 1998; Newcomb, 2000; Stam, 2000; Taylor and Willis, 1999). Where writers in cultural and media studies do not focus exclusively on representation, they tend to shift attention to the variety of processes involved in making cultural products available, the processes of the distribution of cultural products. Possibly best known here is the work of Theodor Adorno, who outlined the dynamics of what he called ‘the culture industry’, the processes which ‘bring culture within the sphere of administration’ (Adorno and Horkheimer, 1969: 131; see also Adorno, 1991a; Benjamin, 1968; Garnham, 1990). While Adorno is clearly interested in the consumption of images he is equally, if not more, concerned with the role of mass distribution of cultural products and the dynamics that this generates. Under late capitalism the technologies of mass distribution generate specific dynamics that Adorno sees in a singularly negative light. The mass distribution and consumption of music, film and television leads to the pretence of innovation, a regression in the ability of audiences to listen, and a reduction of television to its most banal, unchallenging, and hence easily consumable (see Adorno, 1967, 1991b, 1991c).

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