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.
Thursday, March 11, 2010
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