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By Dominic Strinati

An creation to Theories of pop culture is well known as an immensely valuable textbook for college students taking classes within the significant theories of pop culture. Strinati offers a severe overview of the ways that those theories have attempted to appreciate and review pop culture in smooth societies.

Among the theories and ideas the ebook introduces are: mann tradition, the Frankfurt institution and the tradition undefined, semiology and structuralism, Marxism, feminism, postmodernism and cultural populism.

This new version offers clean fabric on Marxism and feminism, whereas a brand new ultimate bankruptcy assesses the importance of the theories defined within the book.

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Hebdige links Orwell and Hoggart together in what he calls a ‘negative consensus’ since they knew what they wanted to preserve—the traditional workingclass community—rather than what they wanted to change. He argues that ‘Orwell and Hoggart were interested in preserving the “texture” of working-class life against the bland allure of post-war affluence—television, high wages, and consumerism’ (Hebdige 1988:51; cf. pp. 50–52). In his justly famous book The Uses of Literacy, first published in 1957 (a book which has been central to the development of the study of popular culture in Britain) Hoggart tried to document how the traditional and closely knit working-class community was being taken over by what he called ‘a shiny barbarism’.

This is where American populism and the consequences of mass democracy and education become important. Leavis, for example, cites Edmund Gosse, writing in 1889, as follows: One danger which I have long foreseen from the spread of the democratic sentiment, is that of the tradition of literary taste, the canons of literature, being reversed with success by a popular vote. Up to the present time, in all parts of the world, the masses of uneducated or semieducated persons, who form the vast majority of readers, though they cannot and do not appreciate the classics of their race, have been content to acknowledge their supremacy.

The boundaries drawn between popular culture and art, or between mass, high and folk culture, are being constantly blurred and changed. They are not necessarily given, or consistently objective and historically constant, but are often indistinct and historically variable. Mass culture theory tends to condemn mass culture as a whole. Leavis, for example, is said to have dismissed cinema as a serious cultural form, though MacDonald was prepared to count some examples of cinema, such as Eisenstein’s films, as art.

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