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The Cultural Industry Summary

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The chapter of the cultural industry refers first of all to the growing film and media industry, especially to Hollywood cinema and private radio stations in the United States. Adorno and Horkheimer, in a totally different way from his colleague Walter Benjamin or Bertolt Brecht - who held ambivalent perspectives about the problems and possibilities that came with technical reproducibility, the mass media and the multiple aspects of production and the reception under the new conditions- valued the cultural industry directly in a negative way: as a growing totalizing spiral of systematic manipulation with the "retroactive demand" to adapt more and more to this system. "Cinema, radio and magazines constitute a system. Each sector is harmonized …show more content…

" This infinite vicious circle of promise, which projects a desire and keeps it in a form of unproductive dependence, constitutes the core of the idea of cultural industry as an …show more content…

In contrast to the most powerful sectors of the industry - steel, oil, electricity and chemistry - cultural monopolies would be weak and dependent. Also the last remnants of resistance against Fordism - again here we find reminiscences of the ancient heroic function of autonomous art - were turned into factories. The new factories of creativity (the field of newspapers, cinema, radio and television) were adapted to the criteria of the Fordist factory. The character of the assembly line ordered the creative production of the cultural industry in a similar way as it had done before with agriculture and metal work: through serialization, standardization and total mastery of creativity. "But, at the same time, mechanization has acquired such power over the man who enjoys free time and his happiness, determines so completely the manufacture of products for fun, that the subject can no longer experience anything other than copies. or reproductions of the work process itself. " Therefore, according to Adorno and Horkheimer, the function of the factories of creativity consists, on the one hand, in the mechanized manufacture of entertainment goods and, on the other, in the fixation and control - beyond the traditional

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In conclusion, not only does she effectively contribute to the conversation regarding the decline of creativity and why it happens, but through her efficient usage of ethos, logos, pathos, and kairos, Manoush Zomorodi gives a thoroughly convincing presentation. Weaving these together creates a favorable argument for why taking time to set aside electronic devices boosts creativity. Overall, Zomorodi created a compelling argument that not only convinces her intended audience, but also those who may have initially disagreed with her.

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Diego Rivera fuses the stress of blue-collar workers and the beauty of colors to create a fresco piece that demonstrates America’s center of industry, Detroit. All of the details in the piece, Detroit Industry, have a purpose, down to the colors that are chosen. This artwork of his is admired by many and illustrates a strong message about the flow of the factories and the relationship between technology and manufacturing (Smith). Rivera’s life started out in the year of 1886, in Guanajuato City, located in Central Mexico.

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1265 Words | 6 Pages

New South Wales can be considered as the main cultural and art hub of Australia. It has established a well-earned reputation by its exciting and innovative arts and cultural events, museums, theatres and galleries etc. With diverse cultural background, it positions New South Wales as the expression of Australian identity and become a popular destination for creative businesses worldwide. The NSW Arts and Cultural Policy Framework evaluates and identities the strategy for the arts and cultural sector across the Metropolitan Sydney, Western Sydney and Regional NSW.

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2359 Words | 10 Pages

After this book, Gombrich has sold the most popular book he has ever made in 1950, The Story of Art, which was translated into 34 languages and was accepted by the universities as a textbook. There were over 6 million copies sold in 2011. This shows how Gombrich’s books are acknowledged and recommended by millions of people to be read. Therefore, A Little History of the World is coming from a reliable source, as most of the author’s books are acknowledged by the people.

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1361 Words | 6 Pages

Cultural production in the early republic made the United States what it is today. Early Republicans worked day in and day out to create, produce, and manifest their own mark on the developing land. Some worked in factories; others worked on farms. No matter where these Republicans worked, they were all contributing their own threads to the newly formed fabric of an early North American empire. One thread that is often overlooked is also one of the most important threads of them all - the philosophical thread.

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937 Words | 4 Pages

In her book entitled „Not for Profit: Why Democracy Needs the Humanities” , Martha Nussbaum deals with topics regarding education all over the world but her main focus is on the United States and India, places that she has better knowledge of. For that reason, her main thesis is that by declining the study of the humanities the world can end up with some „useful profit makers rather than thoughtful citizens.” (142) Even though people want to replace the arts education and humanities with technology or technology education, Nussbaum does not say that the arts and humanities are neglected by individuals. She mostly thinks that they are somewhat feared because for example, humanities at the same time with art can heighten one’s creativity and imagination but as well as his or hers compassion.

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428 Words | 2 Pages

This process of recuperation happens in two ways: by converting subcultural signs into mass-produced objects (the commodity form) and by labelling and re-defining deviant behavior by dominant groups (the ideological form). The commodity form benefits from the relationship between the spectacular subcultures and the industries, which is based on ambiguity and the difficulty to distinguish between commercial exploitation and originality, since consumption is an indispensable part of spectacular subcultures and they feed on production and publicity. However, this commercialization and mass production of cultural symbols takes their meaning away from the subculture and makes it available for everyone.

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2330 Words | 10 Pages

Adorno, although not directly addressing the aura, did not see the aura’s degradation at the hands of technology as beneficial to the progression of art. Unlike Benjamin who focused on film, Adorno focused his piece on the changing in the music industry as a result of technology. Consequently, Adorno saw that a capitalist society was capable of burgeoning as a result of the technological progress. In response to the proliferation of music, Adorno saw that the appreciation for the music itself shifted towards the money used on behalf of the consumer: “The consumer is really worshipping the money he has paid for the ticket” (Adorno 278). Rather than music maintaining its identity as an art form, music was transformed into an industry as a result of consumerism.

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971 Words | 4 Pages

Cultural capital gives a way for groups to gain a different status or to remain in a dominant group. Cultural capital,conceded cultivation and accomplishment by natural growth are topics that effect our education and society .Some families lack cultural capital which leads to accomplishment of natural growth. Families that have cultural capital leads to conceded cultivation. Families that lack cultural capital come from poorer families that do not have a lot of money which leads to accomplishment by natural growth.

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805 Words | 4 Pages

As Bela Lugosi once said, “People, chained by monotony, afraid to think, clinging to certainties…they live like ants”. The painting Over London by Rail, by Gustave Dore portrays a side of the Industrial Revolution that was disregarded by many during the time. The upper class often neglected the harsh working conditions in which most of the people lived in. This mechanism of change that the revolution had become drastically transformed people’s traditional lives that were once in a close to perfect harmony with nature. The fast moving industrialization of the world made individuality negligible as huge amounts of goods were made and thousands were made to work for the machines.

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1483 Words | 6 Pages

Adorno and Horkheimer drew from Marx with regards to capitalism. According to Lorimer and Scannell (1994), “Following Marx, they saw the application of capitalist methods to cultural production as exploitative of the mass of the production” (p. 165). Adorno and Horkheimer believed that mass culture due to capitalism makes it homogenous. The audience then becomes homogenous and unified. Baofu (2009) further explains the culture industry as, “Popular culture is akin to a factory producing standardized cultural goods to manipulate the masses into passivity; the easy pleasures available through consumption of popular culture make people docile and content, no matter how difficult their economic circumstances.”

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1023 Words | 5 Pages

This is a critical analysis of the painting Henry Ford Hospital by Frida Kahlo. This artwork consists of oil paint on a tin canvas. It was painted in Detroit, Michigan after she had one of her many miscarriages. Today it can be found in the Collection of Museo Dolores Olmedo in Xochimilco, Mexico (Esaak). This analysis will describe the elements of design, principles of design, and the reason Kahlo created this artwork.

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1577 Words | 7 Pages

However, he didn’t concur with the current method that modernism could resolve all problems from within the logic and space of the factory. A more complex stimulus was needed, which he considered to be education. For people to better understand the advancements and to be sufficiently qualified to take a role within the global transformation of production, and with the lack of sufficient support from the government, it would have to be industry that provided the instruction. Furthermore Camillo believed that industry should be a complementary system with its surrounding environment and not at odds with it. The factory should actively participate in the growth of the area and community around it fostering a space within which all can benefit economically and

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1182 Words | 5 Pages

Therefore, in the perspective of understanding materialist art history by the discussion focused on the labor of the production line, different forms of arts then no longer refer to the product labeled and produced by the so-called ‘artistic genius’, but a product of complex relationship between social, economic and political sphere. (Klingender, 1943) To be more specific, the relationship between materialist art history and Marxist art history is demonstrated with the practice of artwork in relation to society, economy or politics, with detailed and specific analysis in the context of social cultures and the idea of class in the capitalist society. (D’Alleva, 2005) In a particular cultural environment, we can realize the outgrowth of the interactions between patrons and artists in a more complicated way.

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702 Words | 3 Pages

Next, creativity is the driving force of the economy, usually in the form of digital and mobile

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