かならずよんで ね！

文化産業論

On Culture Industry

池田光穂

"The term culture industry (German: Kulturindustrie) was coined by the critical theorists Theodor Adorno (1903–1969) and Max Horkheimer (1895–1973), and was presented as critical vocabulary in the chapter "The Culture Industry: Enlightenment as Mass Deception", of the book Dialectic of Enlightenment (1947), wherein they proposed that popular culture is akin to a factory producing standardized cultural goods—films, radio programmes, magazines, etc.—that are used to manipulate mass society into passivity.[1] Consumption of the easy pleasures of popular culture, made available by the mass communications media, renders people docile and content, no matter how difficult their economic circumstances.[1] The inherent danger of the culture industry is the cultivation of false psychological needs that can only be met and satisfied by the products of capitalism; thus Adorno and Horkheimer especially perceived mass-produced culture as dangerous to the more technically and intellectually difficult high arts. In contrast, true psychological needs are freedom, creativity, and genuine happiness, which refer to an earlier demarcation of human needs, established by Herbert Marcuse. (See Eros and Civilization, 1955).[2]" - #Wiki.

"Popular culture (also called mass culture and pop culture) is generally recognized by members of a society as a set of the practices, beliefs and objects that are dominant or ubiquitous in a society at a given point in time. Popular culture also encompasses the activities and feelings produced as a result of interaction with these dominant objects. Heavily influenced in modern times by mass media, this collection of ideas permeates the everyday lives of people in a given society. Therefore, popular culture has a way of influencing an individual's attitudes towards certain topics.[1] However, there are various ways to define pop culture.[2] Because of this, popular culture is something that can be defined in a variety of conflicting ways by different people across different contexts.[3] It is generally viewed in contrast to other forms of culture such as folk culture, working-class culture, or high culture, and also through different theoretical perspectives such as psychoanalysis, structuralism, postmodernism, and more. The most common pop-culture categories are: entertainment (such as movies, music, television and video games), sports, news (as in people/places in the news), politics, fashion, technology, and slang.[4]" - #Wiki.

上掲のようなマルクス主義の批判理論のほかに、キャピタリストからの文化産業論（ないしは文化と資本主義に関する考察）もある。アルビン・トフラーはその好例である。

アルビン・トフラー『文化の消費者』「文化の消費 者」翻訳研究会訳、勁草書房, 1997年／The culture consumers : a study of art and affluence in America  / Alvin Toffler, St. Martin's Press , 1964

パート１　芸術と人々

文化のエリート主義者；文化の量

パート２　潮流

ゆとりのある階層の反乱；大学における文化

パート３　芸術とお金

芸術の報酬；文化産業

パート４　エピローグ

何のための卓越性か？

リンク（メディア）

• ︎メディアはメッセージである▶︎メディア・ソーシャルデザイン▶︎︎メディアは我々自身を形づくる▶情報メディアと倫理︎▶︎︎なんでも屋のメディア研究▶︎メディア等式（media equation）文献▶メディアの理解▶メディア・ミックス手法▶︎︎ネガティブなメディア・ソーシャルデザイン▶我々はまだメディア 問題の根幹 に到達していない▶︎︎「いいね！」戦争論▶出版資本主義」に関するノート︎▶︎︎▶︎▶︎︎▶︎▶︎︎▶︎▶︎︎▶︎▶︎
  

リンク（文化）

• ︎「文化」概念の検討▶︎文化▶さまざまな〈ブンカ〉︎︎▶︎異文化理解の基礎▶︎︎現地人の視点を強調すること▶︎文化と「美なるもの」について▶「文化」概念︎︎▶︎文化は思考のエンジン▶︎︎▶︎▶︎
  

文献

• Adorno, T. W. Negative Dialectics. New York: The Seabury Press. (1973)
  
• Adorno, T., & Horkheimer, M. Dialectic of Enlightenment. Stanford University Press (2002)
• Marcuse, H. Eros and Civilization. Beacon. (1955)
• Witkin, R.W. Adorno on Popular Culture. Routledge. (2003)
  
• アルビン・トフラー『文化の消費者』「文化の消費者」翻訳研究会訳、勁草書房, 1997年／The culture consumers : a study of art and affluence in America  / Alvin Toffler, St. Martin's Press , 1964

その他の情報

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