By Dominic Strinati
An advent to Theories of pop culture is widely known as an immensely helpful textbook for college kids taking classes within the significant theories of pop culture. Strinati offers a serious evaluate of the ways that those theories have attempted to appreciate and review pop culture in smooth societies. one of the theories and ideas the publication introduces are: mann tradition, the Frankfurt university and the tradition undefined, semiology and structuralism, Marxism, feminism, postmodernism and cultural populism. This new version presents clean fabric on Marxism and feminism, whereas a brand new ultimate bankruptcy assesses the importance of the theories defined within the publication.
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Extra resources for An Introduction to Theories of Popular Culture, 2nd Edition
None the less, Hebdige’s argument provides an effective contrast to that offered by Hoggart, and the comparison highlights some of the interesting problems associated with the analysis of the Americanisation of popular culture. Hebdige also begins to outline some of the difficulties confronted by mass culture theory. The debate about Americanisation has continued on into the 1970s and 1980s and has focused, for example, upon the threats posed to national cultural identities by popular American television programmes.
Another way of looking at this problem is to be found in Ang’s analysis (1989) of the ideologies used by viewers to account for their reasons for watching and evaluating the American television soap Dallas. She found those who disliked or hated the series, and those who watched but laughed at it from a carefully cultivated and ‘ironic distance’, were confident and secure in the judgements they made and the grounds upon which they could make them. However, those who liked the series tended to be far less confident about expressing and rationalising their preference.
Taste and style are socially and culturally determined. It is the power to decide upon the definitions of 38 MASS CULTURE taste and style which circulate within societies which is important, rather than the remote possibility of finding universal and objective reasons for validating aesthetic judgements. The power to determine popular culture and the standards of cultural taste is not restricted to the economic and political power exercised by the mass culture industries, though they are obviously crucial for any adequate explanation of the overall process.