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Ideology Lecture

MC2622 Film and Cultural Theory, Cardiff University

Paul Bowman

on 13 October 2017

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Transcript of Ideology Lecture

Is Popular Culture Chosen
Adorno and Horkheimer
The Culture Industry: Enlightenment as Mass Deception
‘a system which is uniform as a whole and in every part. Even the aesthetic activities of political opposites are one in their enthusiastic obedience to the rhythm of the iron system.’
‘city housing projects designed to perpetuate the individual as a supposedly independent unit’
‘It is alleged that because millions participate in it, certain reproduction processes are necessary that inevitably require identical needs in innumerable places to be satisfied with identical goods.’
‘The result is the circle of manipulation and retroactive need in which the unity of the system grows ever stronger.’
‘A technological rationale is the rationale of domination itself.’
‘… it turns all participants into listeners and authoritatively subjects them to broadcast programmes that are all exactly the same.’
‘The attitude of the public … is a part of the system and not an excuse for it.’
‘Something is provided for all so that none may escape’
‘The whole world is made to pass through the filter of the culture industry.’
Real life is becoming indistinguishable from the movies
leaves no room for imagination or reflection on the part of the audience
‘sustained thought is out of the question’
‘The culture industry perpetually cheats its consumers of what it perpetually promises. The promissory note which, with its plots and staging, it draws on pleasure is endlessly prolonged; the promise, which is actually all the spectacle consists of, is illusory: all it actually confirms is that the real point will never be reached, that the diner must be satisfied with the menu.’
The culture industry does not sublimate; it represses. By repeatedly exposing the objects of desire, breasts in a clinging sweater or the naked torso of the athletic hero, it only stimulates the unsublimated forepleasure which habitual deprivation has long since reduced to a masochistic semblance
the culture industry is pornographic and prudish. Love is downgraded to romance. And, after the descent, much is permitted; even licence as a marketable speciality has its quota bearing the trade description ‘daring’. The mass production of the sexual automatically achieves its repression. Because of his ubiquity, the film star with whom one is meant to fall in love is from the outset a copy of himself
‘the effort to achieve individuation has at last been replaced by the effort to imitate’
‘the mechanical reproduction of beauty…’
‘In the culture industry, jovial denial takes the place of the pain found in ecstasy and in asceticism. The supreme law is that they shall not satisfy their desires at any price; they must laugh and be content with laughter. In every product of the culture industry, the permanent denial imposed by civilisation is once again unmistakably demonstrated and inflicted on its victims. To offer and to deprive them removing its poison…’
The result is the circle of manipulation and retroactive need in which the unity of the system grows ever stronger
Raymond Williams
Dominant, Residual and Emergent
‘In authentic historical analysis it is necessary at every point to recognize the complex interrelations between movements and tendencies both within and beyond a specific and effective dominance. It is necessary to examine how these relate to the whole cultural process rather than only to the selected and abstracted dominant system.’
‘We have […] to speak of the ‘dominant’ and the ‘effective’, and in these senses of the hegemonic. But we find that we have also to speak, and indeed with further differentiation of each, of the ‘residual’ and the ‘emergent’, which in any real process, and at any moment in the process, are significant both in themselves and in what they reveal of the characteristics of the ‘dominant’.’
what is 'the dominant'?
the dominant is what has effectively seized the ruling definition of the social
A distinctive and comprehensive feature of any dominant social order is how far it reaches into the whole range of practices and experiences in an attempt at incorporation. There can be areas of experience it is willing to ignore or dispense with: to assign as private or to specialize as aesthetic or to generalize as natural. [….] Thus in advanced capitalism, because of changes in the social character of labour, in the social character of communications, and in the social character of decision-making, the dominant culture reaches much further than ever before in capitalist society into hitherto ‘reserved’ or ‘resigned’ areas of experience and practice and meaning. The area of effective penetration of the dominant order into the whole social and cultural process is thus now significantly greater.’
What is "residual"?
By ‘residual’ I mean something different from the ‘archaic’, though in practice these are often very difficult to distinguish. Any culture includes available elements of its past, but their place in the contemporary cultural process is profoundly variable. I would call the ‘archaic’ that which is wholly recognized as an element of the past, to be observed, to be examined, or even on occasion to be consciously ‘revived’, in a deliberately specializing way. What I mean by the ‘residual’ is very different. The residual, by definition, has been effectively formed in the past, but it is still active in the cultural process, not only and often not at all as an element of the past, but as an effective element of the present. Thus certain experiences, meanings, and values which cannot be expressed or substantially verified in terms of the dominant culture, are nevertheless lived and practised on the basis of the residue – cultural as well as social – of some previous social and cultural institution or formation
‘Thus organized religion is predominantly residual’
‘Again, the idea of rural community is predominantly residual, but is in some limited respects alternative or oppositional to urban industrial capitalism, though for the most part it is incorporated, as idealization or fantasy, or as an exotic-residential or escape-leisure function of the dominant order itself.’
‘Again, in monarchy, there is virtually nothing that is actively residual (alternative or oppositional), but, with a heavy and deliberate additional use of the archaic, a residual function has been wholly incorporated as a specific political and cultural function – marking the limits as well as the methods – of a form of capitalist democracy.’
•‘In the [case of any problems or perceived deficiencies] of a particular phase of a dominant culture there is then a reaching back to those meanings and values which were created in actual societies and actual situations in the past, and which still seem to have significance because they represent areas of human experience, aspiration, and achievement which the dominant culture neglects, undervalues, opposes, represses, or even cannot recognize.’
And what does "emergent" mean?
By ‘emergent’ I mean, first, that new meanings and values, new practices, new relationships and kinds of relationship are continually being created. But it is exceptionally difficult to distinguish between those which are really elements of some new phase of the dominant culture (and in this sense ‘species-specific’) and those which are substantially alternative or oppositional to it: emergent in the strict sense, rather than merely novel. Since we are always considering relations within a cultural process, definitions of the emergent, as of the residual, can be made only in relation to a full sense of the dominant
A new class is always a source of emergent cultural practice, but while it is still, as a class, relatively subordinate, this is always likely to be uneven and is certain to be incomplete. For, new practice is not, of course, an isolated process. To the degree that it emerges, and especially to the degree that it is oppositional rather than alternative, the process of attempted incorporation significantly begins
Cultural emergence in relation to the emergence and growing strength of a class is then always of major importance, and always complex. But we have also to see that it is not the only kind of emergence
A crucial question:
is this or that emergent or residual thing either:
a) alternative
b) oppositional
in the structure of any actual society, and especially in its class structure, there is always a social basis for elements of the cultural process that are alternative or oppositional to the dominant elements
Straight incorporation [by the dominant] is most directly attempted against the visibly alternative and oppositional class elements: trade unions, working-class political parties, working-class life styles (as incorporated into ‘popular’ journalism, advertising, and commercial entertainment). The process of emergence, in such conditions, is then a constantly repeated, an always renewable, move beyond a phase of practical incorporation: usually made much more difficult by the fact that much incorporation looks like recognition, acknowledgement, and thus a form of acceptance. In this complex process there is indeed regular confusion between the locally residual (as a form of resistance to incorporation) and the generally emergent
in advanced capitalism, […] the dominant culture reaches much further than ever before in capitalist society into hitherto ‘reserved’ or ‘resigned’ areas of experience and practice and meaning. The area of effective penetration of the dominant order into the whole social and cultural process is thus now significantly greater. This in turn makes the problem of emergence especially acute, and narrows the gap between alternative and oppositional elements. The alternative, especially in areas that impinge on significant areas of the dominant, is often seen as oppositional and, by pressure, often converted into it
Paul Bowman
Ideology Lecture
Cardiff University
The Matrix & Ideology
Some 'theories' of 'ideology' in film
Some Key Words and Concepts
repressive hypothesis
Hegemonic ideology
retroactive need
Why is this a 'Marxist' film?
the subject
docile bodies
Not ready to be unplugged
What is real?
Human Batteries
Wag the Dog
Enemy of the State
The Matrix
The Lego Movie
Base & Superstructure
'yellow future'
Jane Park
More on 'The System'
From Marxism to Postmodernism
Guy Debord
Jean Baudrillard
Fredric Jameson
Roland Barthes?
Jacques Derrida?
spectacular society
society of the spectacle
irony, pastiche, parody, intertextuality
Full transcript