Cultural studies 1 lecture 3

Information about Cultural studies 1 lecture 3

Published on November 13, 2007

Author: liamgr

Source: authorstream.com

Content

Cultural studies 1:  Cultural studies 1 Lecture 3 From culture to popular culture Raymond Williams:  Raymond Williams The analysis of Sunday newspapers and crime stories and romances is…familiar but, when you have come yourself to recognise the ties that still bind, you cannot be satisfied with the older formula: enlightened minority, degraded mass The Popular Arts:  The Popular Arts Stuart Hall & Paddy Whannel (1964) Critical method for addressing problems of value and evaluation in culture Rejects the Leavisite argument about defence of culture Most high culture is good but so is some popular culture Discrimination in popular culture:  Discrimination in popular culture Difference of value between high and popular culture Not a question of superiority/inferiority Not unequal but of different value ‘Popular art’ replaces ‘folk art’ Good popular culture re-establishes the relationship between performer and audience lost with industrialisation Popular art:  Popular art Popular art re-states the already known Measures and re-affirms the values of its community Brings both ‘surprise’ and recognition Individualised but re-affirms the relationship between artist and community Articulates common values and experiences Mass art:  Mass art ‘Corrupt’ version of popular art Formulaic Escapist Aesthetically worthless Emotionally unrewarding Processed Exploitative Youth culture and popular culture:  Youth culture and popular culture Concern for the interaction of text and audience Youth culture inseparable from wider context of work, politics and morality Distinction between ‘use made’ and ‘use intended’ Helps to establish a sense of identity Contradictory mixture of the authentic and manufactured Slide8:  The culture produced by the commercial entertainment market…mirrors attitudes which are already there and at the same time provides an expressive field and a set of symbols through which these attitudes can be projected Hall & Whannel (1964) Pop, pop, pop music…:  Pop, pop, pop music… Reflects adolescent difficulties in dealing with emotional and sexual problems Invokes the need to experience life directly and intensely Expresses the drive for security in an uncertain world Dramatises authentic feeling Pop music as symbolic fiction:  Pop music as symbolic fiction Exhibits emotional realism Functions as collective representations and ‘guiding fictions’ Shape the ‘mental picture’ of the teenage world Establishes distance from the adult world But….:  But…. Contrast pop music unfavourably to jazz Ephemeral Directly attuned to the needs of the market and profit Most ‘not very good’ No substitute for the ‘real thing’ From Hoggart to Gramsci…:  From Hoggart to Gramsci… Study of cultural texts and practices to reconstruct the ‘culture of feeling’ of particular groups and classes To see through texts to find their meaning and implication To connect with accepted attitudes and examine patterns of acceptance and resistance to cultural texts and messages Centre for Contemporary Cultural Studies:  Centre for Contemporary Cultural Studies Hoggart, Williams, Hall and Whannel complete the break with Leavis No longer a question of defending high culture but of discriminating between what is good and bad in popular culture Established by Hoggart in Birmingham in 1968 Centre for Contemporary Cultural Studies:  Centre for Contemporary Cultural Studies Multidisciplinary approach to cultural studies: Sociology, history literary theory,politics and anthropology Informed by feminism, structuralist and Gramscian Marxism, post-structuralism CCCS: ‘2 tasks, 1 aim’:  CCCS: ‘2 tasks, 1 aim’ To challenge modern ideologies To engage in popular education To become ‘more organic’ to new and emergent tendencies in society the process of creating intellectuals is long, difficult, full of contradictions, advances, retreats, dispersals and re-groupings in which the loyalty of the masses is often sorely tried’ (Gramsci, The Prison Notebooks,1971)

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