Arnold's 'culture is the study of perfection' where the development of humanity's cultural consciousness is key to the perfection of society. Therefore, culture for Arnold is:
'the great help out of our present difficulties; culture being a pursuit of our total perfection by means of getting to know, on all the matters which most concern us, the best which has been thought and said in the world.'
He acknowledges that only through the pursuance of culture can humanity's salvation be truly possible and that it is unconcerned with: class, rules or formalities, it is accessible for all who choose to persue it. Through this participation, can there truly be any kind of 'development' that benefits 'all sides of humanity'. He gives two examples of cultural conciousness, with the
comparison between, America and France's cultural significance within the art movement. In particular, he examines the citizens of these two countries, Mr Bright and Monsieur Renan, in terms of, what both countries and individuals can offer for the progression of cultural consciousness.
France, and Paris, in particular, is descried as being the focal point of cultural activity were postmodernism: art, literature and architecture has proliferated to the rest of Europe. In contrst, America, is described as embracing contemporay practices, in terms of, replacing postmodernism with modernity, where puritanism and the austerity for a political and social control of what constitues culture is defined. This results in Arnold, taking the side of Monsieur Renan:
'Therefore, we conclude that Monsieur Renan, more than Mr Bright, means by reason and intelligence the same things as we do.' He goes further to dismiss America's brand of culture as being puritanical and thereby, defending Monsieur Renan's position on it:
'Because to enable and stir up people to read their Bible and the newspapers, and to get a practical knowledge of their business, does not serve to the higher spiritual life of a nation so much as culture, truly conceived, serves; and a true conception of culture is, as Monsieur Renan's words show, just what America fails in.'
Therefore, for Arnold, puritanism represents, 'mediocrity and the pursuense of tyranny where authorative control over culture and humanity exists. However, he does not completely dismiss puritanism altogether, he states that there is a place for it within society, 'where they make a large part of what is strongest and serious in this nation and therefore attract our respect and interest'.
These 'nonconformists' whose ideas of a collective cultural identity are, according to Arnold, only concerned with developing,'one side of their humanity at the expense of all others'.
It seems as though, Arnold, has implied that while puritanical behaviour has useful benefits for humanity and society, the development of puritanical thought only serves a small minority, therefore, any sort of perfection cannot be truly attained when there is control and restrictions of what is constitued as being cultural.
He is quite direct with his criticism of puritans, describing them as 'incomplete, mutilated failers' striving for perfection, but failing miserably to find 'salvation'. Arnold, makes a distinction between authoratarian rule and religious values that underpin humanity, which form the foundations of society
that control how perfection is distributed and that, such confusion, results in a failure by humanity to find any kind of perfection:
'Perfection is put further off out of our reach, and the confusion and perplexity in which our society now labours is increased by the Nonconformists rather than diminished by them.'
Arnold does not deny that they have good intentions for humanity, but with 'sweetness and light; he hopes to address the balance and seek a perfection that is embraced by 'all of humanity'. He identifies three distinct groups that are representative of society, they include: Barbarians, Philistines and the Populace.
The Barbarians represent the arisocrats. Philistines can be regarded as representing the middle-classes and the Populace are representative of the rest of the masses, the working-class.
Therefore, to conclude, culture can only be attained through the freedom of individuals where politics and religion, the two main forms of authoraterian control that are identified within the essay, are free from the conversion of culture into a political and religious doctrine for the control of the powerful.
However, as he points out, with a possible reference to Mr Bright, that 'A liberal believes in liberty, and liberty signifies the non-intervention of the State'. Nonetheless, the intervention of the State, particularly within the 'education' environment and 'public afairs' establishments; have been firmly naturalised. Therefore, it could be interpreted, from Arnold's analysis that if puritanism were adopted by the populace then any form of freedom of expression could easily be restricted by the puritanical conventions, processes and rules that are in the best interests of those who are in positions of power. This form of puritanism is described by Arnold, within the educational sphere as:
'a mass of minute mechanical details about the number of members on a school-committee, and how many shall be a quorum, and how they shall be summoned, and how often they shall meet.'
It seems quite evident that, Arnold, draws on institutions that are already controlled to some degree by authority. This seems to be the central point of his whole argument that puritanical control of culture will inevitably lead to the restriction of freedom of expression and dilute what culture truly represents, so; conventions and control by puritans only leads to the rest of the populace being confused about what culure really has to offer humanity.
However, the 'promotion of these philosophical theories', through; 'newspapers' and 'parlimentary representatives, may be said to act the part of guides and governors to us'. Therefore, only through the education and 'promotion' of culture, can the rest of the populace be informed. But, there is a clear distinction here between; puritanical culture and culture that 'guides' the populace.
Thursday, May 20, 2010
Monday, May 17, 2010
Understanding Celebrity Culture: The I and the Me of Fame
Holmes and Redmond talk about the celebrity. They identify three main themes associated with the celebrity through their analysis of the 'Leif Memphis personae'. These include: ' Adulation', 'Identification', and 'Emulation'. The people who follow 'celebrity culture' have a desire to be famous and adored , where they may be distinguished from the rest of humanity. Therefore, according to the authors, such individuals are drawn to the world of 'celebrity' as either fans of 'celebrity culture' or as participants of a movement to become followers.
This, as Holmes and Redmond, argue, along with media publicity, creates an image that celebrity and stardom are a lifestyle worth pursuing. Through this adulation and emulation process, a form of identity is constructed where products associated with such celebrities are purchased in an attempt to emulate the celebrity lifestyle of that individual.
However, there are complications with this analysis, as the construction of identity cannot be entirely dependent on the celebrities' and lifestyles that these people follow, but identity, as they suggest, is already a 'manufactured' process that fuels consumerism behaviour through the commodification and purchase of cultural products that relate to identity in some form or another. Also, what becomes apparent is that the traditional and postmodernist view of identity, clashes with the modernist one, where individual identities are manufactured through the consumption of media texts.
This creates a situation where cultural identity is not restricted to one particular group, but through the consumption of products, different identities are constructed based on the ownership of these products, where the attainment of such a lifestyle is the main goal regardless of the cultural significance of the media text in question. 'Identities are in crisis because traditional structures of membership and belonging inscribed in relations of class, party and national-state have been called into question.' Holmes and Redmond's analysis of the 'I/Leif Memphis' personae reveals that this particular personae exists as a 'successful' 'narcissistic star, who adores his own god-like status and through this celebrity personae wants to be loved and adored by his followers. In contrast to this personae there exists the 'I' who wants to be like Leif Memphis and posses the lifestyle and material wealth associated with being a celebrity. But, according to Holmes and Redmond, this particular personae is seen as being a destructive character, who is dissatisfied with the lifestyle and identity that they posses. Both persona's are continually struggling to achieve any kind of perfection in their lives, the celebrity envy's what 'I' has, a 'private life' and 'I' envy's what Leif Memphis has, a celebrity lifestyle where wealth and fame are seen as perfection.
This parallel relationship, is important in the analysis of celebrity, according to the authors, who suggest that 'there is little difference between, 'the utopian promises and dystopian consequences that they both offer'. There are different reasons as to why 'fans' may want to 'reach out' to celebrities, one of them being the self-fullfilment and the 'illusion of intimacy', whereby an illusionary connection is made with a celebrity to make up for the loss of such intimacy, within social relations.
This 'intimacy' with celebrities has increased with the mass production of media texts that celebrate and promote celebrities and celebrity culture. However, one-to-one intimacy with a celebrity is the desired goal to determine what they are really like in the flesh. These kinds of debates are important for academic analysis of 'celebrity culture' and fandom, where 'historical development, cultural, political, economic functions' and how 'celebrity''social and cultural values' are determined by the followers of 'celebrity culture'. They argue that any analysis within the academic sphere occupies the 'same framework' as other analysis of 'celebrity culture', where there is no distinction between academic analysis and the media texts that promote and celebrate 'celebrity culture'. They suggest that such critics aspire to the same kind of fame as the celebrities that they write about and through cross-media processes, can easily become icons of 'celebrity culture'. 'Reality' TV shows are identified as being important in 'celebrity culture' where the coming together of fandom, and celebrity personae, merge into one being.
.....'the modern self is said to be marked by a great deal of anxiety, doubt and confusion over who-and-how-to-be in a world where identity is felt to be more malleable, more questionable , and much more decidely manufactured. The alienated individual of the modern age, then, may feel homeless, and in a perpetual state of dislocation'
This, as Holmes and Redmond, argue, along with media publicity, creates an image that celebrity and stardom are a lifestyle worth pursuing. Through this adulation and emulation process, a form of identity is constructed where products associated with such celebrities are purchased in an attempt to emulate the celebrity lifestyle of that individual.
However, there are complications with this analysis, as the construction of identity cannot be entirely dependent on the celebrities' and lifestyles that these people follow, but identity, as they suggest, is already a 'manufactured' process that fuels consumerism behaviour through the commodification and purchase of cultural products that relate to identity in some form or another. Also, what becomes apparent is that the traditional and postmodernist view of identity, clashes with the modernist one, where individual identities are manufactured through the consumption of media texts.
This creates a situation where cultural identity is not restricted to one particular group, but through the consumption of products, different identities are constructed based on the ownership of these products, where the attainment of such a lifestyle is the main goal regardless of the cultural significance of the media text in question. 'Identities are in crisis because traditional structures of membership and belonging inscribed in relations of class, party and national-state have been called into question.' Holmes and Redmond's analysis of the 'I/Leif Memphis' personae reveals that this particular personae exists as a 'successful' 'narcissistic star, who adores his own god-like status and through this celebrity personae wants to be loved and adored by his followers. In contrast to this personae there exists the 'I' who wants to be like Leif Memphis and posses the lifestyle and material wealth associated with being a celebrity. But, according to Holmes and Redmond, this particular personae is seen as being a destructive character, who is dissatisfied with the lifestyle and identity that they posses. Both persona's are continually struggling to achieve any kind of perfection in their lives, the celebrity envy's what 'I' has, a 'private life' and 'I' envy's what Leif Memphis has, a celebrity lifestyle where wealth and fame are seen as perfection.
This parallel relationship, is important in the analysis of celebrity, according to the authors, who suggest that 'there is little difference between, 'the utopian promises and dystopian consequences that they both offer'. There are different reasons as to why 'fans' may want to 'reach out' to celebrities, one of them being the self-fullfilment and the 'illusion of intimacy', whereby an illusionary connection is made with a celebrity to make up for the loss of such intimacy, within social relations.
This 'intimacy' with celebrities has increased with the mass production of media texts that celebrate and promote celebrities and celebrity culture. However, one-to-one intimacy with a celebrity is the desired goal to determine what they are really like in the flesh. These kinds of debates are important for academic analysis of 'celebrity culture' and fandom, where 'historical development, cultural, political, economic functions' and how 'celebrity''social and cultural values' are determined by the followers of 'celebrity culture'. They argue that any analysis within the academic sphere occupies the 'same framework' as other analysis of 'celebrity culture', where there is no distinction between academic analysis and the media texts that promote and celebrate 'celebrity culture'. They suggest that such critics aspire to the same kind of fame as the celebrities that they write about and through cross-media processes, can easily become icons of 'celebrity culture'. 'Reality' TV shows are identified as being important in 'celebrity culture' where the coming together of fandom, and celebrity personae, merge into one being.
.....'the modern self is said to be marked by a great deal of anxiety, doubt and confusion over who-and-how-to-be in a world where identity is felt to be more malleable, more questionable , and much more decidely manufactured. The alienated individual of the modern age, then, may feel homeless, and in a perpetual state of dislocation'
Consumer Culture and the Manufacturing of Desire
Marita Strucken, and Lisa Cartwright, state that visual imagery, whether they are artistic or photographic have a finacial value that is attached to it within the market that it is consumed in. Therefore, within the news market, the regular exchange of images 'are bought and sold because of their commercial value in depicting current and historical events'. They imply that through the buying and selling of images, a form of commodity fetishism is evolving through the placement of visual rhetoric within cultural artifacts that cater for 'commodity culture'. Advertising, in particular, is central to this idea of the consumption of cultural artifacts that promote current themes of 'glamour', 'self-image', and 'sel-improvement' as ideals that must be attained to, in order to achieve perfection. Its ideological rhetoric, providing the impetus for the acquisition of a cultural ideology through the depiction of visual imagery of what constitutes an ideal that should be attained. A visualisation of a perfect and harmonious future is the central message of such images that, according to Struken and Cartwright, ideolise the attainment of such lifestyles and promote a message that if you embrace such a lifestyle, then everything you desire will become a reality. Therefore, the visual imagery acts as a metaphor for a perfect future that is only possible, through the collection of products that promote a modernist, 'idealised lifestyle' which is intended for the betterment of individuals.
'This is the world that works by abstraction, a potential place or state of being situated not in the present but in an imagined future with the promise to the consumer of things “you” will have, a lifestyle you can take part in.' (p.189)
They state that advertising agencies are continouly inventing new strategies and methods to keep readers' interested in their products, such brand names employ the services of an 'advertising agency' who are responsible for the 'visual identity' of the company that employs them. These advertising agencies have to come up with new 'tactics' to keep such readers interested in their client's products, it is not the case of just presenting the advertising directly to the consumer, but more overt techniques are employeed to decrease resistance of the imagery, through the use of different mediums, where meaning and interpretation is not restricted to two-dimensial static imagery, but through three-dimensional environments that use a variety of different media to communicate the messages of the advertisemnet. The use of advertising is essential to a consumer society where the distribution of 'wealth' is held by 'individuals and corporations'. Consumer culture they say, is a rather new development where the emergence of choice and new products have allowed the manufacture of mass produced goods to emerge. This is an interesting argument that suggests that an industralisation of consumer products has allowed the advertising agencies to increase business as the mass production of goods increased. This economic change is important, in that through capitalism, consumerism, and methods to tap into consumer culture, through advertising and promotion, has allowed consumerism and brand awareness to increase.
They make an interesting point about how community, family and work roles have changed, as the traditional community sphere began to change and cultural identies became a source of consumerism, where through the buying of goods, people found an identity that they could relate to as the community identity was no longer the only source. Through this 'commodity culture' goods and products are purchased and 'sold' because they have 'cultural meaning' that is realted to identity. However, advertising is not merely about selling images but about the selling of 'lifestyles'. However, advertising, according to Michael Schudson, is a complicated process that involves the use of other processes, with advertising being one of them. The widespread impact of 'commodity culture' was criticised by 'The Frankfurt School' in the '1960s', who were opposed to it because, such obcession with objects could not replace the loss of identity and 'meaningful social interaction'. However, the 'therapeutic' process of consumerism increased as commodities promised an escape from dissatisfied 'lifestyles'. Through glamourisation of images, where an ideal repesentation of lifestyles and body image are portrayed to increase cosumerist behaviour, are 'central to advertising'.
Finally, the emergence of the shopping mall created a source were consumerist demand for products and goods were all allocated in one large unit, which was made up of smaller retail units. The large glass windows, and the use of visual displays to attract shoppers is still used today to celebrate 'consumer culture'. This suggests that postmodern conventions of attracting consumers are very much a part of modern consumer practices in the present. The postmodern architecture may have been replaced by modernity, but the postmodern conventions of attracting consumers is very much a part of modern retail practices where tried and tested methods from the past are employed today.
'This is the world that works by abstraction, a potential place or state of being situated not in the present but in an imagined future with the promise to the consumer of things “you” will have, a lifestyle you can take part in.' (p.189)
They state that advertising agencies are continouly inventing new strategies and methods to keep readers' interested in their products, such brand names employ the services of an 'advertising agency' who are responsible for the 'visual identity' of the company that employs them. These advertising agencies have to come up with new 'tactics' to keep such readers interested in their client's products, it is not the case of just presenting the advertising directly to the consumer, but more overt techniques are employeed to decrease resistance of the imagery, through the use of different mediums, where meaning and interpretation is not restricted to two-dimensial static imagery, but through three-dimensional environments that use a variety of different media to communicate the messages of the advertisemnet. The use of advertising is essential to a consumer society where the distribution of 'wealth' is held by 'individuals and corporations'. Consumer culture they say, is a rather new development where the emergence of choice and new products have allowed the manufacture of mass produced goods to emerge. This is an interesting argument that suggests that an industralisation of consumer products has allowed the advertising agencies to increase business as the mass production of goods increased. This economic change is important, in that through capitalism, consumerism, and methods to tap into consumer culture, through advertising and promotion, has allowed consumerism and brand awareness to increase.
They make an interesting point about how community, family and work roles have changed, as the traditional community sphere began to change and cultural identies became a source of consumerism, where through the buying of goods, people found an identity that they could relate to as the community identity was no longer the only source. Through this 'commodity culture' goods and products are purchased and 'sold' because they have 'cultural meaning' that is realted to identity. However, advertising is not merely about selling images but about the selling of 'lifestyles'. However, advertising, according to Michael Schudson, is a complicated process that involves the use of other processes, with advertising being one of them. The widespread impact of 'commodity culture' was criticised by 'The Frankfurt School' in the '1960s', who were opposed to it because, such obcession with objects could not replace the loss of identity and 'meaningful social interaction'. However, the 'therapeutic' process of consumerism increased as commodities promised an escape from dissatisfied 'lifestyles'. Through glamourisation of images, where an ideal repesentation of lifestyles and body image are portrayed to increase cosumerist behaviour, are 'central to advertising'.
Finally, the emergence of the shopping mall created a source were consumerist demand for products and goods were all allocated in one large unit, which was made up of smaller retail units. The large glass windows, and the use of visual displays to attract shoppers is still used today to celebrate 'consumer culture'. This suggests that postmodern conventions of attracting consumers are very much a part of modern consumer practices in the present. The postmodern architecture may have been replaced by modernity, but the postmodern conventions of attracting consumers is very much a part of modern retail practices where tried and tested methods from the past are employed today.
Saturday, May 15, 2010
'The Mistakes of the Past '? Visual Narratives of Urban Decline and Regeneration
Paul Long and David Parker's, analysis of the emergence of modernity within the architectural structures of a vanishing postmodern city, reveals that architecture embodies a form of relativism which is firmly established within the authors' nostalgic memories of a bygone past. They argue that a form of propaganda, is responsible for the transition in change, from the past to the present, where visual imaginery in the form of billboard posters, fortify and inform people of the change. The approach of modernity, with its emphasis on architectural redevelopment and the demolition of standardised, postmodern, concrete structures, is described as a 'liberation of the pedestrian from the tyranny of the motor vehicle'.
This is a modernist view of change, which the authors' disagree with. Through the analysis of the past and present they identify how visual imagiery has informed people of such changes. The public discussions occur through the use of public relations, where debate within the public sphere is encouraged before the actual building of such structures. They make an interesting distinction between postmodern structures of the city, with new modern visual imagery that depict the emergence of modernity by the visual rhetoric of animated plans that 'dramatize the alleged failures of the recent past' and a modernist argument that the imagery depicts a 'hope in the spatial transfiguration' where architectural information through visual rhetoric is used as propaganda to highlight finished developments and planned demolition of postmodern structures that show failings of the past, are tranformed into modern spaces.
They describe this process as 'urban imagery' the planning and destruction of a postmodern age. The use of such visual imagery, according to the authors', is an important aspect of the change that allows the inhabitants to play an important role within the decision-making process, which is either met with acceptance or resistance. Furthermore, such visualisation of modernity is not just restricted to the visual imagery that portrays change, but also through the planning process where reflexion of changes and visualisation of plans emerge, before they are committed to visual imagery that promote the change. This utopian vision for the creation of modernity can easily be compared to the urban development of 19th century, Paris, where the city was completely rebuilt, its postmodern structures demolished and replaced by pristine, modern, and practical architecture that celebrated modernity. It is interesting that Paris's architectural structure stll remains postmodern today.
The replacement of postmodern is not just restricted to the modernisation of architecture, but through the depiction of modernist visual imagery in the form of new art structures and European influence of retail environments. These new structures within modernity, cater for a consumerist demand for the 'new'.
'Commerce depends on the free flow of pedestrians consuming imported goods within vehicle-less shopping enclaves. The eyes of the consumer, the tourist, the potential property developer and the portfolio architect must be seduced by the urban skyline.'
This is a modernist view of change, which the authors' disagree with. Through the analysis of the past and present they identify how visual imagiery has informed people of such changes. The public discussions occur through the use of public relations, where debate within the public sphere is encouraged before the actual building of such structures. They make an interesting distinction between postmodern structures of the city, with new modern visual imagery that depict the emergence of modernity by the visual rhetoric of animated plans that 'dramatize the alleged failures of the recent past' and a modernist argument that the imagery depicts a 'hope in the spatial transfiguration' where architectural information through visual rhetoric is used as propaganda to highlight finished developments and planned demolition of postmodern structures that show failings of the past, are tranformed into modern spaces.
They describe this process as 'urban imagery' the planning and destruction of a postmodern age. The use of such visual imagery, according to the authors', is an important aspect of the change that allows the inhabitants to play an important role within the decision-making process, which is either met with acceptance or resistance. Furthermore, such visualisation of modernity is not just restricted to the visual imagery that portrays change, but also through the planning process where reflexion of changes and visualisation of plans emerge, before they are committed to visual imagery that promote the change. This utopian vision for the creation of modernity can easily be compared to the urban development of 19th century, Paris, where the city was completely rebuilt, its postmodern structures demolished and replaced by pristine, modern, and practical architecture that celebrated modernity. It is interesting that Paris's architectural structure stll remains postmodern today.
The replacement of postmodern is not just restricted to the modernisation of architecture, but through the depiction of modernist visual imagery in the form of new art structures and European influence of retail environments. These new structures within modernity, cater for a consumerist demand for the 'new'.
'Commerce depends on the free flow of pedestrians consuming imported goods within vehicle-less shopping enclaves. The eyes of the consumer, the tourist, the potential property developer and the portfolio architect must be seduced by the urban skyline.'
The Name of the Product: Late Twenteth-Century Celebrity
Joshua Gamson's, analysis of celebrity focuses of the transition between the past and the present status of celebrity culture. He makes a clear distinction between individual achievement, where fame had been acquired through sheer perserverance and, to modernity and the present, where industralised practices and marketing methods have helped develop what is termed as popular 'celebrity culture'.
He identifies the historical change that emerged within the 1940s, and '50s, with a significant change within the entertainment industry, which culminated at the end of a Supreme Court case, involving the 'United States v.Paramount Pictures', where the corporation were forced to cease some production and distribution practices that allowed them to acquire large profits. This was at a bad time for the film industry, which was experiencing difficulties with the emergence of the Television revolution, offering; entertainment from the comfort of the family home.
Gamson, acknowledges that the medium, particularly in America, had become popular with the availability and ownerships of television sets increasing and affecting cinema popularity with cinemas 'struggling to find an audience'. In a desperate attempt to save the industry from collapse, an overhaul of the present system was needed. The changes were dramatic with the rise in 'independent production companies' and the short-term contracting of staff.
The limited number of staff had repercussions on the film industry as less stars were being developed and trained for future films. This opportunity allowed 'talent agents' to take on the tasks that were previously the responsibility of the studios. These agents became important figures, acting as middlemen where they offered a number of services that allowed talent and the celebrity lifestyle to emerge.
However this shift was eventually changed again, when studios realised that colloboration with agents and television would help the film industry. During the same period, the emergence of Public Relations had been marginal and only grew wide acceptance after 'Word War II' where PR evolved into a 'sophisticated communication network'. This emergence proved significant not only for the film inustry but for a number of other mediums, television, newspapers,and radio.
The services the public relations practioners provided increased the branding methods of products and stars, advertising, promotion and sales techiques enhanced products and profiles and increased consumption with more audiences, readers pursuing the artifacts associated with celebrity culture. Class values within the early period were crucial for developing such strategies, but eventually replaced by a much broader system based on other factors of the targeted potential consumers ; religion, sex, etc. By the early 1970s, interest in 'celebrity culture' became a popular way to attract readers. This surge towards 'celebrity' became a potential way for newspapers and magazines to attract readers, and they began writing about 'people' and 'personality' with the success of ' People Magazine in 1974'. Celebrity lifestyle and culture became firmly established within television, radio and newspapers and is still a major part of newspaper, magazine, television, and radio content today.
To add to Gamson's work for the present, the practice of Public Relations, which was started by Edward Barnays (1891-1953) has become a staple part of organisational behavior and is not only limited to media practices, but is included in most business practices today. The present rapidity and development of technology has only strenghtened the practice, by creating a new platform in which strategies, such as: celebrity endorsement and buzz marketing techniques, aggregate methods and monetisation practices all relate to PR in some form or another. The technological age has allowed the PR practices to become fundemental to business success.
To a certain extent, 'celebrity culture' has become firmly embedded into society. Public Relations practioners have become savvy to the benefits of promoting and advertising the benefits of individuals and organisations, so successfully, that the media output is everywhere: on billboards, bus stops, TV advertising, newspaper advertising etc. Influencing and determing the choices we make.
He identifies the historical change that emerged within the 1940s, and '50s, with a significant change within the entertainment industry, which culminated at the end of a Supreme Court case, involving the 'United States v.Paramount Pictures', where the corporation were forced to cease some production and distribution practices that allowed them to acquire large profits. This was at a bad time for the film industry, which was experiencing difficulties with the emergence of the Television revolution, offering; entertainment from the comfort of the family home.
Gamson, acknowledges that the medium, particularly in America, had become popular with the availability and ownerships of television sets increasing and affecting cinema popularity with cinemas 'struggling to find an audience'. In a desperate attempt to save the industry from collapse, an overhaul of the present system was needed. The changes were dramatic with the rise in 'independent production companies' and the short-term contracting of staff.
The limited number of staff had repercussions on the film industry as less stars were being developed and trained for future films. This opportunity allowed 'talent agents' to take on the tasks that were previously the responsibility of the studios. These agents became important figures, acting as middlemen where they offered a number of services that allowed talent and the celebrity lifestyle to emerge.
However this shift was eventually changed again, when studios realised that colloboration with agents and television would help the film industry. During the same period, the emergence of Public Relations had been marginal and only grew wide acceptance after 'Word War II' where PR evolved into a 'sophisticated communication network'. This emergence proved significant not only for the film inustry but for a number of other mediums, television, newspapers,and radio.
The services the public relations practioners provided increased the branding methods of products and stars, advertising, promotion and sales techiques enhanced products and profiles and increased consumption with more audiences, readers pursuing the artifacts associated with celebrity culture. Class values within the early period were crucial for developing such strategies, but eventually replaced by a much broader system based on other factors of the targeted potential consumers ; religion, sex, etc. By the early 1970s, interest in 'celebrity culture' became a popular way to attract readers. This surge towards 'celebrity' became a potential way for newspapers and magazines to attract readers, and they began writing about 'people' and 'personality' with the success of ' People Magazine in 1974'. Celebrity lifestyle and culture became firmly established within television, radio and newspapers and is still a major part of newspaper, magazine, television, and radio content today.
To add to Gamson's work for the present, the practice of Public Relations, which was started by Edward Barnays (1891-1953) has become a staple part of organisational behavior and is not only limited to media practices, but is included in most business practices today. The present rapidity and development of technology has only strenghtened the practice, by creating a new platform in which strategies, such as: celebrity endorsement and buzz marketing techniques, aggregate methods and monetisation practices all relate to PR in some form or another. The technological age has allowed the PR practices to become fundemental to business success.
To a certain extent, 'celebrity culture' has become firmly embedded into society. Public Relations practioners have become savvy to the benefits of promoting and advertising the benefits of individuals and organisations, so successfully, that the media output is everywhere: on billboards, bus stops, TV advertising, newspaper advertising etc. Influencing and determing the choices we make.
Thursday, March 11, 2010
Post-Modernism and 'the other side'
Dick Hebdige (1986), argues that the definition of post-modernism within contemporary analysis is becoming more distorted. The 'blurring' of the term, he suggests is used without limitation to add commercial value to the arts, which he describes as being on the brink of “commodity fetishism”.
This fascination with the labelling and packaging of products with cultural signifiers, according to Hebdige, centres on profitability and the marketing and promotion of artefacts that are directly targeted at a specific audience.
In “Staking out the Posts”, he looks at how artistic expression within art has been reinterpreted for the present conceptualisation of the art movement. He goes on to explain the significance of particular theories that have resonated by intellectual thinkers of the time that are now becoming a part of contemporary cultural theory.
The critical evaluation from these intellectuals of the art movement of their time, have allowed the formation of new cultural movements to emerge. He also suggests that post-modernisms definition is expressed differently by various thinkers. Jean Francious Loytard (1986) attaches it to an architectural “trend” within modernity where spaces are defined by theoretical arguments of post-modern thinkers and the dissolutionment of any form of progression of humanity where selective processes within discourse controls artistic expression.
The selection of certain messages according to Hebdige over the omitting of others, the positioning, layout and rhetorical devices conveniently packaged for an automated distribution process, creates debate and questions this standardisation.
In 'Cultural Studies vs. Political Economy', he disagrees with Garnham's argument that culture exists purely as a marketing device to manipulate and control dominant messages in political economical terms. Instead, he acknowledges that the realationship 'between people, culture and power' is a complex one and cannot be easily explained by the political economic values that have been attached to it.
This fascination with the labelling and packaging of products with cultural signifiers, according to Hebdige, centres on profitability and the marketing and promotion of artefacts that are directly targeted at a specific audience.
In “Staking out the Posts”, he looks at how artistic expression within art has been reinterpreted for the present conceptualisation of the art movement. He goes on to explain the significance of particular theories that have resonated by intellectual thinkers of the time that are now becoming a part of contemporary cultural theory.
The critical evaluation from these intellectuals of the art movement of their time, have allowed the formation of new cultural movements to emerge. He also suggests that post-modernisms definition is expressed differently by various thinkers. Jean Francious Loytard (1986) attaches it to an architectural “trend” within modernity where spaces are defined by theoretical arguments of post-modern thinkers and the dissolutionment of any form of progression of humanity where selective processes within discourse controls artistic expression.
The selection of certain messages according to Hebdige over the omitting of others, the positioning, layout and rhetorical devices conveniently packaged for an automated distribution process, creates debate and questions this standardisation.
In 'Cultural Studies vs. Political Economy', he disagrees with Garnham's argument that culture exists purely as a marketing device to manipulate and control dominant messages in political economical terms. Instead, he acknowledges that the realationship 'between people, culture and power' is a complex one and cannot be easily explained by the political economic values that have been attached to it.
Saturday, February 27, 2010
F.R. Leavis 'Sweetness and Light'
Exercise 1
For this exercise I had to identify a media text that offered "sweetness & light" and determine what values it communicated.
J.K. Rowlings, Harry Potter series of books offers a form of "sweetness & light". The way the books are written with continuity of the main protagonists, communicate a form of idealism that, to a certain extent, is apparent within adolescence.
There is a strengthening of cultural, social, and traditional values and norms and escapism, which is characteristic of most fiction aimed at children.
But it also appeals to adults. This is because the text relies on a formulaic method - friendship, good over evil, innocence and alienation, especially characteristic of a child or adult leaving the family to study, for example.
Exercise 2
For this exercise I had to choose a media text and write like F.R.Leavis. I also had to explain why it apeals to base emotions.
"I'm a Celebrity, Get Me Outta Here!", is a media text that deals with "base emotions". It is a standardised, typical template for reality shows that feature less prominent personalties who have been persuaded to congregate on a dessert island in the middle of nowhere, they are followed by an eager film crew who have to document their every move.
The factors that may well have influenced their decision to be included in this show are; promises of additional work and of course, a large wad of cash for their troubles. What we are forced to witness, in the name of entertainment, is a group of Neanderthals competing in a mock recreational activity.
This seems to be a popular pastime of television executives who have created a large portfolio of celebrity, reality serials that appeal to cheap emotions. There is no educational value to such texts whatsoever, and their mass production only creates a society that is less progressive and knowledgeable of the world. They certainly do not offer any solutions to daily problems or even fulfil the prerequisites of escapism.
For this exercise I had to identify a media text that offered "sweetness & light" and determine what values it communicated.
J.K. Rowlings, Harry Potter series of books offers a form of "sweetness & light". The way the books are written with continuity of the main protagonists, communicate a form of idealism that, to a certain extent, is apparent within adolescence.
There is a strengthening of cultural, social, and traditional values and norms and escapism, which is characteristic of most fiction aimed at children.
But it also appeals to adults. This is because the text relies on a formulaic method - friendship, good over evil, innocence and alienation, especially characteristic of a child or adult leaving the family to study, for example.
Exercise 2
For this exercise I had to choose a media text and write like F.R.Leavis. I also had to explain why it apeals to base emotions.
"I'm a Celebrity, Get Me Outta Here!", is a media text that deals with "base emotions". It is a standardised, typical template for reality shows that feature less prominent personalties who have been persuaded to congregate on a dessert island in the middle of nowhere, they are followed by an eager film crew who have to document their every move.
The factors that may well have influenced their decision to be included in this show are; promises of additional work and of course, a large wad of cash for their troubles. What we are forced to witness, in the name of entertainment, is a group of Neanderthals competing in a mock recreational activity.
This seems to be a popular pastime of television executives who have created a large portfolio of celebrity, reality serials that appeal to cheap emotions. There is no educational value to such texts whatsoever, and their mass production only creates a society that is less progressive and knowledgeable of the world. They certainly do not offer any solutions to daily problems or even fulfil the prerequisites of escapism.
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