An introduction to theories of popular culture by Dominic Strinati

By Dominic Strinati

An advent to Theories of pop culture is widely known as an immensely priceless textbook for college students taking classes within the significant theories of pop culture. Strinati presents a severe overview of the ways that those theories have attempted to appreciate and review pop culture in glossy societies.

Among the theories and concepts the e-book introduces are: mann tradition, the Frankfurt college and the tradition undefined, semiology and structuralism, Marxism, feminism, postmodernism and cultural populism.

This re-creation presents 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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An introduction to theories of popular culture

An advent to Theories of pop culture is well known as an immensely beneficial textbook for college students taking classes within the significant theories of pop culture. Strinati presents a serious evaluation of the ways that those theories have attempted to appreciate and review pop culture in glossy societies.

Additional resources for An introduction to theories of popular culture

Example text

With the spreading ownership of the radio, the dominance of Hollywood cinema, or the location of a television set in most people’s homes? Or is it all the fault of America? Representations of the past may themselves be cultural constructs and tell us more about the present than the past. Notwithstanding this, the questions raised suggest that mass culture theory is unclear about its terms, lacks a sense of history, and harbours an unfounded nostalgia for a romanticised and imaginary past. Two further points emerge out of this problem.

It has been argued that the concept of mass culture provides a picture of a debased, trivialised, superficial, artificial and standardised culture which saps the strength of folk and high culture, and challenges the intellectual arbitration of cultural taste. This account may be somewhat simplified and exaggerated. It is always open to the charge that it does not do justice to the work of X, the ideas of Y, or the concept Z. While recognising this argument, we can still insist that what has been outlined can be found, in whole or in part, in most accounts of mass culture as popular culture.

Is there such a thing as a ‘pure’ culture, rooted in authentic communal values, and untainted by outside influences and commercial considerations? Popular music is an area in which the roots and authenticity of particular styles are important issues, and are used to champion the superiority of certain genres such as folk, blues or country over the artificial and superficial character of commercial and mainstream popular music. Yet the criteria of originality, roots, community and authenticity can be deployed as marketing strategies to appeal to particular segments of the music audience while presumably most MASS CULTURE 39 musicians have to make a living.

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