Abstract This paper provides an insight into dolls, Theodor Adorno, pop culture and how they all tie together. The objective is to describe how Theodor Adorno's views on pop culture would apply to today's mass production of dolls, doll's images and the market for dolls in general. Through reviews of Adorno's work, it looks at how a correlation can be made that tie the many aspects of the doll making industry to the expectations of society.
Outline
Introduction
Adorno Mass Production
Dolls
How Would Adorno Look at Dolls Made Today?
The Doll -- A Historical Function
Function in Recent Popular Culture
Conclusion
From the Paper "To understand the modern doll industry, we must also understand the art or science of mass production. Adorno may tell us that the capitalist way of life was built on a foundation of mass marketing and mass production even though that can not provide culture. To have mass production, a system needs factories and places to sell the goods produced by those factories. Capitalism, however, is not easily satisfied with a few places, it requires an ever increasing number of plants and malls to satisfy its voracious appetite. Consider how today there is still a need for more places to build and sell the mass produced nothingness, dolls and doll houses are but one example. The current trends systematically erase resources and even history by building new shopping malls on historic battlefields or whatever land is available."
Abstract The paper begins by introducing Adorno's theories on mass culture and commoditization, which were one of the fundamentals of post-modernism as it appeared in the 20th century. It then looks at how the tango dance is one of the most representative forms of manifestation of the Argentinean spirit and people. Born in the mid-1800s, tango was quickly exported to Europe and became a true success story, until its downfall in 1955. It was reborn in 1983 and has been a success ever since. This paper investigates Adorno's theories and applies them in the case of tango, and looks at whether this is the best example we may choose to argument the truth in Adorno's statements. It explains that, while on one hand, tango can be considered an element of mass culture because, in many ways, it has partly embraced the mercantile character of mass culture that Adorno insists upon, in many other ways, tango is still something in its own, a form of art, a form of expression.
Paper Outline:
Introduction
Adorno's Theory of Mass Culture
History of Tango
History of Tango
Adorno's Theories applied to Tango
Conclusion
From the Paper "Tango is still too imaginative and too expressive to be assimilated as a product of mass culture and classified as a commodity. If we were to pursue on this theoretical path, we would tragically arrive to the conclusion that feelings, emotions and passion are all for sale. However, there were inspired people, like in any other forms of cultural manifestation, that were keen to partly transform tango into a form of entertainment. As any for of entertainment, it could be sold and profit could be obtained by promoting something that was well received in its audience and segment of consumers. Passion sells, many might say. While this argumentation may work in some occasions, passion isn't always understood and passion only addresses a certain category of people. Passion is not a mass culture product."
Abstract In 1950, Adorno, Frenkel-Brunswick, and Levinson and Sanford delved into the concept of the authoritarian personality (TAP). Some of their prime assumptions include that those with TAP are submissive to authority and look to them for the definitions of right and wrong; that they are prejudiced towards an out-group, which they consider weak and inferior. The present study is based on these assumptions. An opportune sample of 100 male students of "hard sciences" were given a questionnaire assessing their susceptibility to an authoritarian source of information over that of a non-authoritarian source, along with Rokeach's Dogmatism scale (measuring authoritarianism). No significant correlation was found between the two factors. Although the findings do not support Adorno, et. al.'s assumptions, they provide evidence for forthcoming theories.
From the Paper "Hitler, Mussolini and many other political and national leaders of the 1930-1950 period adopted and pushed authoritarianism as a strong challenge to democracy. Followers flocked to their banners" (Whitten, 1976, p.622). In an attempt to explain this phenomenon, Adorno, Frenkel-Brunswick, Levinson and Sanford (1950, which will be referred to in the text as AFLS) carried out a search for possible roots and causes of the Authoritarian Personality (TAP) type. Starting at the roots of anti-Semitism, it became a psychological study of ethnocentrism based on Freudian Psychodynamic theory. A person with TAP was defined as "a potentially fascistic individual, one whose structure is such as to render him particularly susceptible to anti-democratic propaganda" and these individuals "exhibit numerous characteristics that go together to form a syndrome", Adorno et al (1950, p.1). These were conventionalism, authoritarian submission, authoritarian aggression, superstition and stereotypy, power and toughness, destructiveness and cynicism, projectivity, concern with sexual goings-on and dogmatism. Some argued that this definition was too limited and too concerned with political opinion, thus defining it as "the desire to impose one's will on others" Ray (1976 cited in Louw-Potgieter (2001), p.78)."
Abstract This paper argues that, while rejecting the embodying of religious meaning in art and artwork in the institutionalized sense of churches or other organized religions, Adorno identified and insisted upon a revelatory role for art itself in terms of its engagement with the human condition and human values. The paper states that Adorno was, in many ways, a writer and thinker profoundly influenced by religion.
From the Paper "For the social and cultural critic and theorist Theodor Adorno (1903-69), art is integrated into the society that produces it, and cannot be considered separately from the economic, political and ideological circumstances of its creation. This position reflects the continuing influence of Marxist theoretical approaches to art which can be found underlying even Adorno's most radical writings. However, Adorno tended to distance himself from a crude materialist or historical-contextual reading of art, focusing on a close reading of the work itself and claiming such thorough analysis from the inside would enable a reading of the work's social meanings without cumbersome references to external contexts. Those social meanings, however, remained central to any accurate and meaningful understanding of the work, whether literary, musical, or visual in nature."
Abstract In their essay, "The Concept of Enlightenment," authors Max Horkheimer and Theodor Adorno chart the process of humanity's efforts to better understand their place within existence, a process that Horkeimer and Adorno refer to as efforts to become enlightened through exploring the influences and, to varying degrees, the abandonment of the practices of mythology, magic and theology. This paper explores these issues in contrast with the Holocaust.
From the Paper "The current rise of science as a dominant world view and thus the method through which human beings are currently able to frame issues beyond their immediate range of experience and perception is, Horkeimer and Adorno believe, merely the latest dominant model through which human beings are seeking to explore the world and achieve a more enlightened state of mind."
Abstract This paper examines the phenomenon of MTV and discusses it in terms of the "pop culture" generation. It provides an analysis of MTV according to two major popular culture theorists - Thedor Adorno and Q.D. Leavis.
From the Paper "The channel was born at midnight on August 1, 1981. A NASA rocket launched and a countdown started for preparing viewers for a blank screen, a series of moon shots, and the image of Neil Armstrong placing an MTV flag in dusty soil of the moon. A male voice vividly announced, ?Ladies and Gentlemen, rock and roll!? Then The Buggles's song "Video Killed the Radio Star" became the first music videos to appear in the homes through MTV. The idea of the video itself was not new: African American performer Louie Armstrong appeared in video clips with his songs in the late 1940s; The Beatles released their song "Strawberry Fields" as a video format in 1967. However, MTV offered to the audiences watching videos for 24 hours a day, seven days a week."
Abstract This paper attemts to examine the theoretical arguments concerning grazing and consumption in general, by exploring some of the research and works of theorists on popular culture. With reference to established sources on popular culture including Adrono, Frith and Fiske, this paper investigates the notions of multiplicity of choice, 'grazing' and 'commodification' in relation to music consumption and freedom of choice. In conclusion it asks if we (as the audience of popular music) really have choice.
Outline
Commodification and Choice
Adorno Fiske
Frith
Theories on Grazing ? Social Factors
Conclusions on Commodification and Grazing ? Do We Really Have Choice
Conclusions on Choice in Popular Music
Conclusions on Choice and Grazing
From the Paper "Criticism of Adorno's views on mass culture is wide ranging. Much stems from the fact that his view of popular music is taken from the viewpoint of high art and therefore, misses the point of popular music in the first place. Other dissatisfaction concerns his failure to address the emergence of Rock n? Roll in the 1950s; Paddison makes the observation that ?Adorno's defence of the musical avant garde can be applied to the work of composer and performers of popular music such as frank Zappa and Henry Crow. (Shuker 2002: 137 quoting Paddison 1993). However, the elements of Marxist theory in the work of the Frankfurt school, particularly concerning commodification, have been widely accepted and expanded upon by bodies such as the Birmingham school, and even populists such as Fiske."
Abstract This paper embarks on an examination of the work of post-war critical theorists Adorno, Horkheimer and Marcuse who capture the dominant themes of post-war Critical Theory well. It proceeds to show how many parallels are evident between post-war Critical Theory and the more recently formulated postmodernist theories. An examination of postmodernist theories then ensues, taking as exemplars the work of Baudrillard, Jameson and Harvey. It concludes by arguing that postmodernist theories do indeed revisit the critique of modern culture, which post-war Critical Theory began and they do so without the political commitment to Marxism. An explanation for this follows, discussing the events which "shattered a whole generation of French intellectual's beliefs in the moral supremacy of Marxism" and sheds light on the climate which ultimately paved way for the emergence of postmodernism.
From the Paper "Advertising encourages individuals to view themselves primarily as consumers, and under the guise of entertainment, audiences are manipulated into accepting and conforming to existing society. Kellner captures this sentiment well claiming "advertising progressively fuses in style and technique with the entertainment of the culture industry, which in turn can be read as a series of advertisements for existing society and the established way of life" (1989:33). The culture industry is designed to discourage individuals from challenging the given order, to think critically and indeed, think for themselves. "The need, which might resist control, has already been suppressed by the control of individual consciousness" (1995: 121). Adorno and Horkheimer show how the products of the culture industry are similar to those produced in a factory, sharing their belief that "under monopoly all mass culture is identical". (1995: 121)."
Analysis of the films, "Lawrence of Arabia" and "The Sheik", vis-a-vis the theories of Horkheimer and Adorno as presented in their work, "Dialectic of Enlightenment", among others.
Abstract In this paper, the author analyzes some aspects of the production and reception of the film, "Lawrence of Arabia" (1962), by situating it within the industry that Horkheimer and Adorno describe in order to further an understanding of what is meant by a "dialectical" critique of film as "culture industry". The paper goes on to briefly discuss the relevance of applying this type of analysis to a film like "The Sheik" (1921).
From the Paper "In Dialectic of Enlightenment, Horkheimer and Adorno make the claim that film plays a key role in what they call the "culture industries" of the 20th century. Writing in 1944, they describe an "iron system", which is in large part a reference to the Hollywood system and its fascistic employment of the ?genre film (Horkheimer 154).? Of the effects of mass culture, they write: ??culture now impresses the same stamp on everything. Films, radio and magazines make up a system which is uniform as a whole and in every part (120).? This criticism has specific implications for the feature film: "They are so designed that quickness, powers of observation, and experience are undeniably needed to apprehend them at all" yet sustained thought is out of the question. Even though the effort required for his [the viewer] response is semi-automatic, no scope is left for the imagination (126,127).? The standardization of the spectator, as it were, via the genre film and through the standardization of the viewing experience, is, for Horkheimer and Adorno, the crux of the culture industry where film is concerned. ?The culture industry as a whole,? they write, ?has molded men as a type unfailingly reproduced in every product (127).?"
An evaluation of the Theodor Adorno/Walter Benjamin debate surrounding popular music and mass culture and its bearing on the debates of other major musicologists and sociologists in the field.
Abstract This paper outlines the opposing standpoints of Adorno and Benjamin on popular music, with specific reference to their view of the consumer. The value of these theories are then discussed with reference to the later theories of David Riesman and Henry Pleasants, Andrew Chester, Simon Frith, Richard Middleton and Max Paddison.
From the Paper "Yet, even if the consumer's perceptive capacity is limited, there is still scope for individual choice, and thus for varying levels of the self-reflective in popular music. If consumers use their music to construct their identity, there will always be a market for these varying levels. As Frith suggests, 'the question should be 'how can popular music construct people?'' A reflection of the person behind the consumer in popular music rejects Adorno's claim that the industry invalidates the individual. Longhurst and Shuker explore this further in their analyses of the industry's sub-cultures, which allow mass identity to segregate and the potential for the individual to find their own route."
Abstract The paper introduces right wing authoritarianism and the authoritarian personality as post-World War II models of social psychology. In the present, these models are taken up again to explain right wing authoritarian prime ministers, as we see that authoritarianism is by no means the preserve of fascist, communist or otherwise non-democratic regimes. The paper provides 10 references with a focus on Adorno's circle.
From the Paper "After the Second World War, social psychologists discussed the authoritarian personality, in an attempt to explain Europe's ultra right-wing Fascist movements and leaders and why millions of people had accepted them, most often referring to Hitler or Mussolini. Theodore Adorno (1903-1969) saw the authoritarian personality as extremely conformist, respectful of authority, intolerant, given to ideals of power and cynical, insecure and rigid stereotypes of others. (Adorno et al: 1950) An authoritarian personality respects rules, rather than taking personal responsibility, as in Adolf Hitler's belief that Nazi persecution of Jews, Gypsies and dissidents was right, for the good of the German people and serving the best interests of Europe at large."
Abstract This paper looks at the theories of Andre Bazin and Theodore Adorno about the human condition in modern film. The author contends that, while it is undeniable that film is created in the context of a cultural industry as Adorno suggests, Bazin's insights regarding the origins of its psychological power over the mass audience are critical to the appreciation of how film can function as a vehicle of both commercial and popular interests. The paper shows how the theoretical perspectives of both Bazin and Adorno are flawed in not considering the complex relationship between cinema and "realism" in terms of style, aesthetics and the role of the author.
Table of Contents:
Introduction
Divergent Views on Cinema, Its History and Functions
The Human Factor - Cinema and Realism
From the Paper "This argument is flawed in two respects: first, it ignores the fact that Welles was an "outsider" of the Hollywood system from the earliest days of his career, and far from being "forgiven" he was persecuted by the industry and its major business backers such as Randolph Hearst; and second, the problem of the "auteur" is not isolated to Welles or even a handful of cinematic innovators. Indeed, the history of cinema - even Hollywood cinema in the era of the major studios - is one of extraordinary creativity, innovation and dynamism."
Tags: audience, studio system, aesthetics symbolism welles
A review of Woody Guthrie's "Talkin' Dust Bowl Blues" and Loretta Lynn's "I'm a Honk Tonk Girl" in light of the relationship between popular music and the industry.
1,400 words (approx. 5.6 pages), 3 sources, 2002, $ 53.95
Abstract This essay will examine Woody Guthrie's "Talkin' Dust Bowl Blues" and Loretta Lynn's "I'm a Honk Tonk Girl" in the context of Charles Seeger and Theodor Adorno's discussion of the relationship between popular music and the industry which seeks to shape and market it within a structure that values and privileges product and commodity.
Abstract Throughout time, theories have been established by many notable men and women to improve society. Nevertheless, these theories have no impact on society if they are not put into practice and, therefore, realized. Karl Marx believed that the purpose of theorizing is to engage in the actual transformation of the world. This view helped him formalize his ideas into realistic theories that could change the world at the right time in history. This paper examines the relationship between theory and practice, examining who theorized and who practiced. This struggle has made a large impact on Marx's followers and the Marxist societies trying to establish the perfect socialist state.
From the Paper "Like Luxemburg, Lenin believed that a highly disciplined, revolutionary party that has fundamental social changes as its goal was essential for improving conditions. As he stated in his Criticism "social-democracy must change from a party of social revolution into a democratic party of social reforms" Anything else would be futile and ineffective . Further, he saw the Bolsheviks as representing a "vanguard who would hold the theoretical line to foster social change" , and that for them to be successful they have to avoid fragmentation-theoretical or political-because this would be the downfall for the socialist movement."
Abstract This paper examines popular music from the 60s to the present day as an area of sociological and musicological change. The paradoxical concepts in Elliott Smith's music are discussed in order to highlight the key issues in the development of popular music-- authenticity, mass culture, subculture, standardisation and post-modernism.
From the Paper "The music of Elliott Smith (1969-2003) exemplifies the presence of the Adorno / Benjamin debate in contemporary popular music, most pertinently on XO (1998). This album pivots between authenticity of expression and commercial appeal, mass cultural and subcultural generic trends, and thus between the democratization and the standardization of popular music. Yet, despite its fusion of these paradoxical dichotomies, XO is an unassuming work; indeed, it seamlessly disguises its competing ideologies."
Tags:adorno, beatles, chester, folk, frith, goodwin, punk, riesman, rock
