Cultural Theory and Popular Culture: An Introduction (6th by John Storey

By John Storey

Filenote: PDF is from ebl, and oddly this imprint isn't the common TF caliber imprint e.g. TF have taken their epub and switched over to pdf + pagination.
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In this sixth variation of his winning Cultural thought and pop culture: An Introduction, John Storey has commonly revised the textual content all through. As ahead of, the booklet offers a transparent and demanding survey of competing theories of and numerous methods to pop culture. Its breadth and theoretical team spirit, exemplified via pop culture, signifies that it may be flexibly and relevantly utilized throughout a couple of disciplines. additionally keeping the available procedure of prior variants, and utilizing acceptable examples from the texts and practices of pop culture, this new version continues to be a key creation to the area.

New to this edition
• generally revised, rewritten and updated
• stronger and accelerated content material throughout
• New sections at the English Marxism of William Morris, Post-Feminism, and Whiteness

The re-creation is still crucial analyzing for undergraduate and postgraduate scholars of cultural stories, media experiences, communique stories, the sociology of tradition, pop culture and different comparable matters.

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Extra info for Cultural Theory and Popular Culture: An Introduction (6th Edition)

Sample text

As such, it consists not simply of an imposed mass culture that is coincident with dominant ideology, nor simply of spontaneously oppositional cultures, but is rather an area of negotiation between the two within which – in different particular types of popular culture – dominant, subordinate and oppositional cultural and ideological values and elements are ‘mixed’ in different permutations (96). The compromise equilibrium of hegemony can also be employed to analyse different types of conflict within and across popular culture.

The process is historical (labelled popular culture one moment, and another kind of culture the next), but it is also synchronic (moving between resistance and incorporation at any given historical moment). For instance, the seaside holiday began as an aristocratic event and within a hundred years it had become an example of popular culture. Film noir started as despised popular cinema and within thirty years had become art cinema. In general terms, those looking at popular culture from the perspective of hegemony theory tend to see it as a terrain of ideological struggle between dominant and subordinate classes, dominant and subordinate cultures.

Arnold’s vision is based on a curious paradox: the men and women of culture know the best that has been thought and said, but for whom are they preserving these treasures when the majority is unsound and has always been, and always will be, unsound? The inescapable answer seems to be: for themselves, a self-perpetuating cultural elite. All that is required from the rest of us is to recognize our cultural difference and acknowledge our cultural deference. Arnold is clear on this point: 60 The mass of mankind will never have any ardent zeal for seeing things as they are; very inadequate ideas will always satisfy them.

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