CULTURAL PRODUCTION
In: Journal of Palestine studies, Band 40, Heft 1, S. 103-104
ISSN: 1533-8614
In: Journal of Palestine studies, Band 40, Heft 1, S. 103-104
ISSN: 1533-8614
In: International journal of cultural policy: CP, Band 6, Heft 2, S. 259-282
ISSN: 1477-2833
In: Media, Culture & Society, Band 28, Heft 2, S. 211-231
ISSN: 1460-3675
This article evaluates Bourdieu's analysis of cultural production in terms of its effectiveness for understanding contemporary media production. I begin by outlining the main features of Bourdieu's work on cultural production, with an emphasis on the potential advantages of his historical account over other, competing work. In particular, I stress the importance of his historical account of 'autonomy' and of the emphasis on the interconnectedness of the field of cultural production with other social fields. I then draw attention to two major problems in the work of Bourdieu and others who have adopted his 'field theory' for the media: first, that he offered only occasional and fragmented analyses of 'large-scale', 'heteronomous' (to use his terms) commercial media production, in spite of its enormous social and cultural importance in the contemporary world; second, that Bourdieu and his key associates provide only a very limited account of the relationships between cultural production and cultural consumption. In this latter context, I briefly discuss recent debates in cultural studies about cultural intermediaries. I refer to examples from recent media production to provide evidence for my arguments. The article argues that, as practised so far, Bourdieu's field theory is only of limited value in analysing media production. However I close by discussing the potential fruitfulness of research based on a dialogue between, on the one hand, field theory's analysis of cultural production and, on the other, Anglo-American media and cultural studies work on media production.
In: The annals of the American Academy of Political and Social Science, Band 597, S. 6-18
ISSN: 1552-3349
An introduction to a special issue on, "Cultural Production in a Digital Age," points out how digital libraries & electronic communication networks have facilitated scholarly production & changed the way scholars & academic institutions operate. The articles in this volume explore how new technologies have altered cultural production in a wide range of fields, from journalism to gambling, social movements to marketing. Some specific topics discussed by the multi-disciplinary contributors include the fate of cultural products distributed through digital channels; relationships between technological development & the political economy of media, marketing, & entertainment fields; the nature of cultural politics online; & the existence of digital clusters. The three organizing schools of thought that address, & often disagree, about the extent, pace, & character of cultural changes generated by digital technologies are identified as digital revolutionaries; cyber-skeptics; & cultural evolutionists. Key arguments of each school are explored, along with the advantages/disadvantages of the sociology of culture approach for analyzes of the role of new technologies. 61 References. J. Lindroth
Intro -- Acknowledgements -- Contents -- Chapter 1: Introduction -- 1.1 The Scale of Music Studies -- 1.2 Towards the Cultural Production of Scale: An Unfinished Project -- References -- Chapter 2: Musical Metropolis: Janelle Monáe's Scalar Agility -- References -- Chapter 3: A Postcode-Scale Genre: Grime's Scale as 'Level of Resolution' -- References -- Chapter 4: Musical Scale-Jumping: 'What a Wonderful World' from Lysekil to Lviv -- References -- Chapter 5: The Cultural Production of Scalability: Music, Colonialism and the Moravian Missionary Project -- References -- Chapter 6: From the Particulars to the General: A Small-Scale Conclusion -- Index.
In: Cultural politics: an international journal ; exploring cultural and political power across the globe, Band 12, Heft 2, S. 217-232
ISSN: 1751-7435
In this article, we identify two models of consumer culture: the more familiar appeasement model where the "customer is king," as well as a less established and recently emergent achievement model where the consumer's efforts in consummating the act of consumption are lauded and celebrated. This raises the question of how the two models might be related to each other. Here we argue that the spread of neoliberal ideology, where the neoliberal subject is constituted as one who prides herself or himself on demonstrating entrepreneurial qualities, who thrives under competitive conditions, and who is comfortable displaying these qualities in the context of public scrutiny, has led to the cultivation of the enterprising consumer. We also show how the technologies of government employed in the cultural production of the enterprising consumer differ, and necessarily so, from those employed in the case of the enterprising producer.
In: Cultural sociology, Band 4, Heft 2, S. 209-216
ISSN: 1749-9763
This article engages with several of the key issues raised by Georgina Born in her article in this issue. It begins with a consideration of the emphasis on 'production' in Born's piece, and argues that production studies are marked by an attentiveness to complexity that is often absent in studies of cultural reception. This response engages polemically with Born's call for a cultural analysis that includes moments of critical judgement, and argues against approaches to culture that are centrally concerned with questions of human creativity.
In: French cultural studies, Band 4, Heft 12, S. 283-289
ISSN: 1740-2352
In: Monthly Review, S. 48-57
ISSN: 0027-0520
As part of a deconstruction of national identity, Jennifer Jolly, in her Creating Pátzcuaro, Creating Mexico: Art, Tourism, and Nation Building under Lázaro Cárdenas, analyzes the tourist town of Pátzcuaro in the west-central Mexican state of Michoacán as a microcosm of cultural power in which tourism, art, history, and ethnicity were woven together under the presidency of Lázaro Cárdenas del Río (1934–40).
Within this article, public service media and community media will be compared with regard to their potential to provide access, interaction and participation of civil society. These potentials will be identified at the level of organizational structures as well as the level of content production and evaluation. The theoretical considerations finally lead to the question whether and how the concept of public value as participation of civil society and accountability of media organizations is applicable to different forms of media organizations and which problems could arise out of that. By discussing how different dimensions of participation are realized within public service media and community media in the Austrian media market, we want to show how different structural prerequisites can also lead to different materializations of participation. In the end, this leads to the conclusion that public service media and community media in Austria do not only realize participation in different ways but thereby also fulfill their roles and tasks in democratic societies differently. We argue that instead of trying to apply a common framework, the output of and values created by public service media and community media have to be evaluated and measured in particular ways.
BASE
Chapter 1: Introduction -- Chapter 2: Ideological Contention -- Chapter 3: Incipient Practice and Culture -- Chapter 4: Incipient Practice, Class, and Ideology -- Chapter 5: The Factory Without Bosses -- Chapter 6: Incipient Practice and Subaltern Groups -- Chapter 7:Conclusion.
In: The Digital Origins of Dictatorship and Democracy, S. 157-179
In: The annals of the American Academy of Political and Social Science, Band 597, Heft 1, S. 6-18
ISSN: 1552-3349
In: Review of African political economy, Band 17, Heft 48
ISSN: 1740-1720
In: Cultural studies - critical methodologies, Band 1, Heft 4, S. 411-429
ISSN: 1552-356X
Recent years have seen increased emphasis on the autonomy of human agency in creating meaning in everyday life. The institutional bias in sociology, however, and its concomitant emphasis on social reproduction rather than change favors hierarchical approaches to cultural production. This is apparent in the theorizing even of sociologists such as Pierre Bourdieu who emphasize the cultural dynamism of religion and other meaning systems. This article critiques the mechanistic underpinnings of Bourdieu's perspective on religious production and his categorical differentiation between religious producers and consumers. Using data gathered from American Catholics, the author shows that interpretive autonomy allows them to recast the official discourse of the church hierarchy in ways that advance alternative interpretations. Interpretive autonomy is grounded in the Catholic tradition or habitus and is reflexively used by Catholics both to maintain the vibrancy of the church and expand the possibilities for institutional change.