Suchergebnisse

The concept of culture industry leads a double life. On the one hand, it appears as transparent, being used widely and freely in reference to a branch of business; on the other, it is a notion belonging to a critical tradition that wants to preserve the tension resulting from the juxtaposition of these two words. Culture Industry Today is a contribution to the latter trend, which takes into account the current prevalence of the former. By offering interpretations of the term in relation to philosophy, media, television, the Third World, the psyche and the culture of consumption, the book aims at showing the continued relevance of an expression whose muteness is the corroboration of its darkest content.

The Culture Industry and Participatory Audiences -- Acknowledgements -- Contents -- List of Tables -- 1 Introduction: The Convergent Media Landscape -- Notes -- References -- 2 The Culture Industry and Audience Agency -- Defining the Culture Industry as a Tool of Ideological Reproduction -- The Culture Industry and the Audience -- Notes -- References -- 3 Agency in Practice: A Participatory Utopia -- Online Participation -- Participatory Culture, Digital Storytelling and Web Series as Alternative Ways of Telling -- Structure and the Limits of Agency -- Participating Through Structuring Structures -- Conclusion -- Notes -- References -- 4 Fans: A Long History of Participation -- The Development of Fan Fiction -- Theoretical Conceptualisations of Fan Practices -- Fan Fiction as Agentic Response to the Culture Industry -- Responses of the Culture Industry to Fan Practices -- Conclusion -- Notes -- References -- 5 Producing Culture: Australian Media and Creative Policy -- Structure of Cultural Fields -- The Field of Australian Television -- Internet Protocol Television -- Australian Government Responses to Media Convergence -- Digital Economy -- Creative Industries -- The Convergence Review: Development and Implementation -- Australian Arts Policy -- New Funding Models from Screen Australia -- The Reproduction of the Field -- Conclusion -- Notes -- References -- 6 Participation in Practice -- Project Outline -- Project Development and Digital Storytelling -- Participants in the Production -- Online Distribution -- Funding Without Industry: The Advantages and Limitations of Crowdfunding -- Audiences -- Conclusion -- Notes -- References -- 7 Authorised Participation -- Framing Participation -- Labour and Leisure: Exploiting Participation -- Conclusion -- References -- Index

"This study shares the tendency, which has been widely maintained in Europe over recent years, to approach the problems of communication and the culture industry with the tools of economic theory. The oldest approaches to the mass communications media have often been criticized, and basically viewed from the standpoint of political domination and ideological reproduction. The critical aspect of the communication and culture economy, by contrast, is that attention has been focused on investigating the functions of the media in the process of capital accumulation, thereby prioritizing the problems of advertising and the mass communications media as a privileged locus for the accumulation of capital at the current stage of capitalist development. Drawing on Marxist theory and concepts, as well as on various theoretical contributions developed by prominent political economists, Bolaño develops a unique approach to understanding the culture industry, offering an interesting intervention in debates surrounding media and communication."--

The terms "culture" and "cultural studies" in Trinidad and Tobago have been narrowly defined to mean Carnival and various other phenomena connected to the nationalist project. There has been little acknowledgement of cyber culture, alternative sexualities, consumerism, media, and in general the "Culture Industry", as theorised by Theodor Adorno and Max Horkheimer. One critic, Gordon Rohlehr, has over decades presented a body of work ostensibly focused on Carnival, but which also contains a cogent critique and outline of the Trinidad and Tobago Culture Industry (as contemplated by Adorno). A close reading of Rohlehr's work, and his intellectual antecedents, reveal a compelling critique of the Trinidadian/West Indian notion and practice of culture and cultural studies, and suggests areas for the discipline's expansion to better serve the needs of the region.

Cultural Economy has been increasingly getting in the agenda of national governments or international organisations for the last two decades and overall importance of the topic has been increased from the scientific as well as public policy perspectives. In parallel with this, different countries, research, or international organisations use different terms to describe the economic dimension of culture, that creates a chain of ambiguity for policymakers as well as individuals interested in scientific study of the field. This paper tries to depict the process of coalescing economic and cultural aspects on a chronological scale, in the light of key social and political changes and identify the developments affecting emergence of related terms. Development of this process is linked with three milestones and corresponding terms and is divided into periods of – Culture Industry, Cultural Industries and Creative Industries.