popular culture vs. mass culture
the “izations”: rationalization, instrumentalization, standardization, etc.
the particular and the universal
leisure vs. free time
“Dialectical thought is the attempt to break through the coercion of logic by its own means.”
— TW Adorno, “Bequest” in Minima Moralia (150)
For example, we can break into a crow bar factory using a crow bar. Dialectical reasoning, far from the stale old formula of thesis-antithesis-synthesis, traffics in contradiction.
“Technology is making gestures precise and brutal, and with them men. It expels from movements all hesitation, deliberation, civility. It subjects them to the implacable, as it were ahistorical demands of objects. Thus the ability is lost, for example, to close a door quietly and discreetly, yet firmly. Those of cars and refrigerators have to be slammed, others have the tendency to snap shut by themselves, imposing on those entering the bad manners of not looking behind them. The new human type cannot be properly understood without awareness of what he is continuously exposed to from the world of things about him, even in his most secret innervations. What does it mean for the subject that there are no more casement windows to open, but only sliding frames to shove, no gentle latches but turnable handles, no forecourt, no doorstep before the street, no wall around the garden? And which driver is not tempted, merely by the power of his engine, to wipe out the vermin of the street, pedestrians, children and cyclists? The movements machines demand of their users already have the violent, hard-hitting, unresting jerkiness of Fascist maltreatment. Not least to blame for the withering of experience is the fact that things, under the law of pure functionality, assume a form that limits contact with them to mere operation, and tolerates no surplus, either in freedom of conduct or in autonomy of things, which would survive as the core of experience, because it is not consumed by the moment of action.”
The built environment itself, as an outcome of rationalizing procedures which emphasize efficiency and utility, is an inhuman landscape.
–TWA, “Do Not Knock” in Minima Moralia (40)
As the first of the quotes above implies, rationality occupies a vexed position within the work of Theodor Adorno. Since the advent of the Enlightenment project, reason– as his most widely known book The Dialectic of Enlightenment argues– has been instrumentalized, put in the service of the domination of Nature and humanity. Positivism in particular is guilty of reifying both the world and human consciousness, ossifying our thought and transforming nature and society into a collection of dead objects– tagged, measured, and classified.
What might seem strange about Adorno’s position is that it pits him– a sociologist of sorts for at least part of his life– against sociological method, arguing that the core of social science– quantification in the form of statistical research, for example– is a falsity which flattens out the qualitative characteristics of social life.
It is important to understand that the engine for this subordination of the human is the principle of exchange value. We do not have time to discuss the centrality of exchange value to the thought of one of Adorno’s major influences, Karl Marx. Suffice to say that exchange value establishes an equivalence between things which are not alike, ignoring or suppressing difference. There is a ‘totalitarian’ quality to this denial of difference, an impulse to gauge worth according to a single measure. In doing so, the particularities and specificities of the world are erased.
The second quote above should be taken for what it is: an instance of Adornian comedy, a mode of engagement intended to elicit dour laughter at a situation that is deadly serious. What this passage describes is a world at odds with those who live in it, a built space which is fundamentally inhuman, where design has been subordinated to efficiency. The “dominative rationality” undergirding that Procrustean architecture has resulted in an alienation so profound that many of those who experience it are oblivious to its effects (Eagleton). Reason, twisted to the demands of capital, has produced an environment which deforms its inhabitants.
Writing during the second World War, an exile from Fascist Germany living in Los Angeles, Adorno looked around and saw that Reason itself was irrational, that the rise of Mass Society– a product of modernity’s sweeping processes of rationalization, industrialization, standardization, etc.– brought with it a dangerous impulse to destruction. He located this tendency not only in Germany and Italy, where “totalitarian” regimes held power, but also in the United States.
“Enlightenment, understood in the widest sense as the advance of thought, has always aimed at liberating human beings from fear and installing them as masters. Yet the wholly enlightened earth is radiant with triumphant calamity” (Dialectic 1).
From the Stanford Encyclopedia of Philosophy:
“Born on September 11, 1903 as Theodor Ludwig Wiesengrund, Adorno lived in Frankfurt am Main for the first three decades of his life and the last two (Claussen 2003, Müller-Doohm 2005). He was the only son of a wealthy German wine merchant of assimilated Jewish background and an accomplished musician of Corsican Catholic descent. Adorno studied philosophy with the neo-Kantian Hans Cornelius and music composition with Alban Berg. He completed his Habilitationsschrift on Kierkegaard’s aesthetics in 1931, under the supervision of the Christian socialist Paul Tillich. After just two years as a university instructor (Privatdozent), he was expelled by the Nazis, along with other professors of Jewish heritage or on the political left. A few years later he turned his father’s surname into a middle initial and adopted “Adorno,” the maternal surname by which he is best known.
“Adorno left Germany in the spring of 1934. During the Nazi era he resided in Oxford, New York City, and southern California. There he wrote several books for which he later became famous, including Dialectic of Enlightenment (with Max Horkheimer), Philosophy of New Music, The Authoritarian Personality (a collaborative project), and Minima Moralia. From these years come his provocative critiques of mass culture and the culture industry. Returning to Frankfurt in 1949 to take up a position in the philosophy department, Adorno quickly established himself as a leading German intellectual and a central figure in the Institute of Social Research. Founded as a free-standing center for Marxist scholarship in 1923, the Institute had been led by Max Horkheimer since 1930. It provided the hub to what has come to be known as the Frankfurt School. Adorno became the Institute’s director in 1958.”
The Frankfurt School
From a paper by Douglas Kellner:
The “Frankfurt School” refers to a group of German-American theorists who developed powerful analyses of the changes in Western capitalist societies that occurred since the classical theory of Marx. Working at the Institut fur Sozialforschung in Frankfurt, Germany in the late 1920s and early 1930s, theorists such as Max Horkheimer, T.W. Adorno, Herbert Marcuse, Leo Lowenthal, and Erich Fromm produced some of the first accounts within critical social theory of the importance of mass culture and communication in social reproduction and domination. The Frankfurt School also generated one of the first models of a critical cultural studies that analyzes the processes of cultural production and political economy, the politics of cultural texts, and audience reception and use of cultural artifacts (Kellner 1989 and 1995).
Moving from Nazi Germany to the United States, the Frankfurt School experienced at first hand the rise of a media culture involving film, popular music, radio, television, and other forms of mass culture (Wiggershaus 1994). In the United States, where they found themselves in exile, media production was by and large a form of commercial entertainment controlled by big corporations. Two of its key theorists Max Horkheimer and T.W. Adorno developed an account of the “culture industry” to call attention to the industrialization and commercialization of culture under capitalist relations of production (1972). This situation was most marked in the United States that had little state support of film or television industries, and where a highly commercial mass culture emerged that came to be a distinctive feature of capitalist societies and a focus of critical cultural studies.
During the 1930s, the Frankfurt school developed a critical and transdisciplinary approach to cultural and communications studies, combining political economy, textual analysis, and analysis of social and ideological effects of. They coined the term “culture industry” to signify the process of the industrialization of mass-produced culture and the commercial imperatives that drove the system. The critical theorists analyzed all mass-mediated cultural artifacts within the context of industrial production, in which the commodities of the culture industries exhibited the same features as other products of mass production: commodification, standardization, and massification. The culture industries had the specific function, however, of providing ideological legitimation of the existing capitalist societies and of integrating individuals into its way of life.
Adorno’s analyses of popular music, television, and other phenomena ranging from astrology columns to fascist speeches (1991, 1994), Lowenthal’s studies of popular literature and magazines (1961), Herzog’s studies of radio soap operas (1941), and the perspectives and critiques of mass culture developed in Horkheimer and Adorno’s famous study of the culture industries (1972 and Adorno 1991) provide many examples of the Frankfurt school approach. Moreover, in their theories of the culture industries and critiques of mass culture, they were among the first social theorists its importance in the reproduction of contemporary societies. In their view, mass culture and communications stand in the center of leisure activity, are important agents of socialization, mediators of political reality, and should thus be seen as major institutions of contemporary societies with a variety of economic, political, cultural and social effects.
Furthermore, the critical theorists investigated the cultural industries in a political context as a form of the integration of the working class into capitalist societies. The Frankfurt school theorists were among the first neo-Marxian groups to examine the effects of mass culture and the rise of the consumer society on the working classes which were to be the instrument of revolution in the classical Marxian scenario. They also analyzed the ways that the culture industries and consumer society were stabilizing contemporary capitalism and accordingly sought new strategies for political change, agencies of political transformation, and models for political emancipation that could serve as norms of social critique and goals for political struggle. This project required rethinking Marxian theory and produced many important contributions — as well as some problematical positions.
The Frankfurt school focused intently on technology and culture, indicating how technology was becoming both a major force of production and formative mode of social organization and control. In a 1941 article, “Some Social Implications of Modern Technology,” Herbert Marcuse argued that technology in the contemporary era constitutes an entire “mode of organizing and perpetuating (or changing) social relationships, a manifestation of prevalent thought and behavior patterns, an instrument for control and domination” (414). In the realm of culture, technology produced mass culture that habituated individuals to conform to the dominant patterns of thought and behavior, and thus provided powerful instruments of social control and domination.
Victims of European fascism, the Frankfurt school experienced first hand the ways that the Nazis used the instruments of mass culture to produce submission to fascist culture and society. While in exile in the United States, the members of the Frankfurt school came to believe that American “popular culture” was also highly ideological and worked to promote the interests of American capitalism. Controlled by giant corporations, the culture industries were organized according to the strictures of mass production, churning out mass-produced products that generated a highly commercial system of culture which in turn sold the values, life-styles, and institutions of “the American way of life.”
Understanding Adorno requires a certain intellectual sympathy, at least initially. In general, our first reaction to his sort of (neo-marxist!) criticism– given the name Critical Theory— might consist of a mere affirmation of our training. Such responses will tend to be either flatly wrong or insufficient, and in the worst case will take the form of statements such as “there is no alternative” or “that’s just how it is.” No effort of thought is required to reassert ideas that have become second nature through repetition. We can do better than that. As Fredric Jameson writes, Adorno’s work “insists relentlessly on the need for modern art and thought to be difficult, to guard their truth and freshness by the austere demands they make on the powers of concentration of their participants, by their refusal of all habitual response in their attempt to reawaken numb thinking and deadened perception to a raw, wholly unfamiliar real world” (Marxism and Form 3).
The Culture Industry and Mass Society
THE sociological theory that the loss of the support of objectively established religion, the dissolution of the last remnants of pre-capitalism, together with technological and social differentiation or specialisation, have led to cultural chaos is disproved every day; for culture now impresses the same stamp on everything.
Against the standard interpretation of modernization as the fragmentation of social life, the sort of ceaseless disruption we discussed in terms of The Maltese Falcon, Horkheimer and Adorno posit a massive uniformity. This is not chaos, but a completely undifferentiated cultural landscape.
Films, radio and magazines make up a system which is uniform as a whole and in every part. Even the aesthetic activities of political opposites are one in their enthusiastic obedience to the rhythm of the iron system. The decorative industrial management buildings and exhibition centers in authoritarian countries are much the same as anywhere else. The huge gleaming towers that shoot up everywhere are outward signs of the ingenious planning of international concerns, toward which the unleashed entrepreneurial system (whose monuments are a mass of gloomy houses and business premises in grimy, spiritless cities) was already hastening. Even now the older houses just outside the concrete city centres look like slums, and the new bungalows on the outskirts are at one with the flimsy structures of world fairs in their praise of technical progress and their built-in demand to be discarded after a short while like empty food cans.
A cultural system characterizing not only fascist nations but capitalist democracies. A massified cityscape of engineered obsolescence.
Yet the city housing projects designed to perpetuate the individual as a supposedly independent unit in a small hygienic dwelling make him all the more subservient to his adversary – the absolute power of capitalism. Because the inhabitants, as producers and as consumers, are drawn into the center in search of work and pleasure, all the living units crystallise into well-organised complexes. The striking unity of microcosm and macrocosm presents men with a model of their culture: the false identity of the general and the particular. Under monopoly all mass culture is identical, and the lines of its artificial framework begin to show through. The people at the top are no longer so interested in concealing monopoly: as its violence becomes more open, so its power grows. Movies and radio need no longer pretend to be art. The truth that they are just business is made into an ideology in order to justify the rubbish they deliberately produce. They call themselves industries; and when their directors’ incomes are published, any doubt about the social utility of the finished products is removed.
The ideology of individualism conceals the totalizing force of capital, its spatial logic, in which city centers draw in masses of workers and shoppers. “The false identity of the general [universal] and the particular”: we are the system, or at least we think so, yet this relationship, this identification is false. At issue here among other things is, as mentioned above, a principle of equivalence.
The culture industry has dropped any pretense. We use the phrase “entertainment industry” today, as do its investors and managers.
Interested parties explain the culture industry in technological terms. It is alleged that because millions participate in it, certain reproduction processes are necessary that inevitably require identical needs in innumerable places to be satisfied with identical goods. The technical contrast between the few production centers and the large number of widely dispersed consumption points is said to demand organisation and planning by management. Furthermore, it is claimed that standards were based in the first place on consumers’ needs, and for that reason were accepted with so little resistance. The result is the circle of manipulation and retroactive need in which the unity of the system grows ever stronger. No mention is made of the fact that the basis on which technology acquires power over society is the power of those whose economic hold over society is greatest. A technological rationale is the rationale of domination itself. It is the coercive nature of society alienated from itself. Automobiles, bombs, and movies keep the whole thing together until their leveling element shows its strength in the very wrong which it furthered. It has made the technology of the culture industry no more than the achievement of standardisation and mass production, sacrificing whatever involved a distinction between the logic of the work and that of the social system.
To the argument that the very scale of the CI demands industrial methods, Adorno and Horkheimer assert that these methods belong to “those whose economic hold over society is greatest.” In other words, technology grows in power over the social to the extent that economic elites, the organizers of technology, its investors, exert their own power.
The issue of “retroactive need”: the standard interpretation argues that need gave rise to the system when in reality it is the system itself, and the forces which govern it, which generates need. Here is an example of a kind of critical inversion, an intellectual jiu jitsu, which flips the statement dialectically.
Note what keeps “the whole thing together”: consumer durables and industry; a military apparatus; the CI– three components of social domination. Not bread and circuses but what some have come to call the military-industrial-entertainment complex after Eisenhower’s prescient warning at the end of his presidency.
Also, the category of the (art) work is important, and its relationship to its social context.
This is the result not of a law of movement in technology as such but of its function in today’s economy. The need which might resist central control has already been suppressed by the control of the individual consciousness. The step from the telephone to the radio has clearly distinguished the roles. The former still allowed the subscriber to play the role of subject, and was liberal. The latter is democratic: it turns all participants into listeners and authoritatively subjects them to broadcast programs which are all exactly the same. No machinery of rejoinder has been devised, and private broadcasters are denied any freedom. They are confined to the apocryphal field of the “amateur,” and also have to accept organisation from above.
Here we encounter an equality of subjection, a democratic form of control from above. The example of radio, which ensures that we are all equally compelled to listen and never speak.
But any trace of spontaneity from the public in official broadcasting is controlled and absorbed by talent scouts, studio competitions and official programs of every kind selected by professionals. Talented performers belong to the industry long before it displays them; otherwise they would not be so eager to fit in. The attitude of the public, which ostensibly and actually favours the system of the culture industry, is a part of the system and not an excuse for it. If one branch of art follows the same formula as one with a very different medium and content; if the dramatic intrigue of broadcast soap operas becomes no more than useful material for showing how to master technical problems at both ends of the scale of musical experience – real jazz or a cheap imitation; or if a movement from a Beethoven symphony is crudely “adapted” for a film sound-track in the same way as a Tolstoy novel is garbled in a film script: then the claim that this is done to satisfy the spontaneous wishes of the public is no more than hot air.
Any cultural practice which is organic, spontaneous, authentic is immediately routed into the system. Even further the public itself is a part of CI. The fascination with fame, the cult of the celebrity, “popular” tastes– all are constituents of the CI rather than expressions of desire for its products.
Jazz, Beethoven, Tolstoy: a single principle at work across different cultural forms (genres)– what they share in common is their mutilation via the CI.
We are closer to the facts if we explain these phenomena as inherent in the technical and personnel apparatus which, down to its last cog, itself forms part of the economic mechanism of selection. In addition there is the agreement – or at least the determination – of all executive authorities not to produce or sanction anything that in any way differs from their own rules, their own ideas about consumers, or above all themselves.
The owners/managers of CI produce only that which mirrors themselves, which is to say a false reflection of (identity with) the system. Is this an infinite loop?
In our age the objective social tendency is incarnate in the hidden subjective purposes of company directors, the foremost among whom are in the most powerful sectors of industry – steel, petroleum, electricity, and chemicals. Culture monopolies are weak and dependent in comparison. They cannot afford to neglect their appeasement of the real holders of power if their sphere of activity in mass society (a sphere producing a specific type of commodity which anyhow is still too closely bound up with easy-going liberalism and Jewish intellectuals) is not to undergo a series of purges. The dependence of the most powerful broadcasting company on the electrical industry, or of the motion picture industry on the banks, is characteristic of the whole sphere, whose individual branches are themselves economically interwoven. All are in such close contact that the extreme concentration of mental forces allows demarcation lines between different firms and technical branches to be ignored.
The first sentence of the paragraph gestures at what Althusser would call “capitalist subjects”– i.e., those whose identification with the universal (“the objective social tendency”) is complete. Adorno argues that though the CEOs of industrial corporations can act unilaterally, in their own interests, the Culture Industry, as a weaker sector of the overall economy, must bow to the wishes of the economically powerful. There is, he asserts, a relationship of dependency between the major players of capitalism and the CI. It is important to note that the situation Adorno describes has altered dramatically in the last 60 years, in part because of de-industrialization and financialization. Which are the most powerful elements of the national (or global) economy today?
“Jewish intellectuals”: in other words, it is suspicious. Adorno and Hork. make a gesture at themselves.
The ruthless unity in the culture industry is evidence of what will happen in politics. Marked differentiations such as those of A and B films, or of stories in magazines in different price ranges, depend not so much on subject matter as on classifying, organising, and labelling consumers. Something is provided for all so that none may escape; the distinctions are emphasised and extended. The public is catered for with a hierarchical range of mass-produced products of varying quality, thus advancing the rule of complete quantification. Everybody must behave (as if spontaneously) in accordance with his previously determined and indexed level, and choose the category of mass product turned out for his type. Consumers appear as statistics on research organisation charts, and are divided by income groups into red, green, and blue areas; the technique is that used for any type of propaganda.
Rationality instrumentalized to feed the machine. The first sentence is a warning: the effects of instrumentalization have a political outcome. If the content of Culture Industry products is negligible, their (false) “difference” depends merely on the act of categorizing them as different. The analogy with political parties’– Republican vs. Democrat– “branding” will be, I hope, obvious.
“Something is provided for all so that none may escape.” Again, a dialectical statement and an example of Adornian comedy.
Quality is transformed into quantity, the primary operation of positivism, of post-Enlightenment reason. As a way of understanding this process, think of grades.
How formalised the procedure is can be seen when the mechanically differentiated products prove to be all alike in the end. That the difference between the Chrysler range and General Motors products is basically illusory strikes every child with a keen interest in varieties. What connoisseurs discuss as good or bad points serve only to perpetuate the semblance of competition and range of choice. The same applies to the Warner Brothers and Metro Goldwyn Mayer productions. But even the differences between the more expensive and cheaper models put out by the same firm steadily diminish: for automobiles, there are such differences as the number of cylinders, cubic capacity, details of patented gadgets; and for films there are the number of stars, the extravagant use of technology, labor, and equipment, and the introduction of the latest psychological formulas. The universal criterion of merit is the amount of “conspicuous production,” of blatant cash investment. The varying budgets in the culture industry do not bear the slightest relation to factual values, to the meaning of the products themselves.
Sameness, camoflauged by meaningless distinctions, is achieved through quantification. In terms of box office receipts or production costs all films may be judged according to the same measure.
“Conspicuous production”: a play on Thorstein Veblen’s “conspicuous consumption.” What distinguishes one CI product from another is not it’s inherent value but how much was spent to produce it. For example, the blockbuster film starring Will Smith.
Even the technical media are relentlessly forced into uniformity. Television aims at a synthesis of radio and film, and is held up only because the interested parties have not yet reached agreement, but its consequences will be quite enormous and promise to intensify the impoverishment of aesthetic matter so drastically, that by tomorrow the thinly veiled identity of all industrial culture products can come triumphantly out into the open, derisively fulfilling the Wagnerian dream of the Gesamtkunstwerk – the fusion of all the arts in one work.
A prediction: television will accelerate and deepen the crisis of aesthetic degradation. A mockery of Wagner’s notion of a total art work. More like a sandwich that contains every ingredient– sardines, butterscotch, cottage cheese. A monstrosity.
The alliance of word, image, and music is all the more perfect than in Tristan because the sensuous elements which all approvingly reflect the surface of social reality are in principle embodied in the same technical process, the unity of which becomes its distinctive content. This process integrates all the elements of the production, from the novel (shaped with an eye to the film) to the last sound effect. It is the triumph of invested capital, whose title as absolute master is etched deep into the hearts of the dispossessed in the employment line; it is the meaningful content of every film, whatever plot the production team may have selected.
Its unity– i.e., the sum of its techniques– which is governed by the logic of capital, IS its content. Thus every CI product is really about capital.
The man with leisure has to accept what the culture manufacturers offer him. Kant’s formalism still expected a contribution from the individual, who was thought to relate the varied experiences of the senses to fundamental concepts; but industry robs the individual of his function. Its prime service to the customer is to do his schematising for him.
A crucial distinction, which will be developed later, is implied here: leisure vs. free time. In mass society, leisure, a fundamentally passive affair, has the character of work.
Kant said that there was a secret mechanism in the soul which prepared direct intuitions in such a way that they could be fitted into the system of pure reason. But today that secret has been deciphered. While the mechanism is to all appearances planned by those who serve up the data of experience, that is, by the culture industry, it is in fact forced upon the latter by the power of society, which remains irrational, however we may try to rationalise it; and this inescapable force is processed by commercial agencies so that they give an artificial impression of being in command.
Welcome to dialectics. The winding path of the latter sentence is an effort to tease out the falsities of the CI and its self-proclaimed role. Read the sentence carefully and we’ll discuss what it means. Kant’s “secret mechanism” of apprehension– “synthetic apperception,” a concept that need not detain us here– the faculty for organizing perception into knowledge, has not so much been replaced by Culture Industry product as by the objective social tendency which is then fed into the CI, whose self-advertisements “give an artificial impression of being in command.”
There is nothing left for the consumer to classify. Producers have done it for him. Art for the masses has destroyed the dream but still conforms to the tenets of that dreaming idealism which critical idealism baulked at. Everything derives from consciousness: for Malebranche and Berkeley, from the consciousness of God; in mass art, from the consciousness of the production team. Not only are the hit songs, stars, and soap operas cyclically recurrent and rigidly invariable types, but the specific content of the entertainment itself is derived from them and only appears to change. The details are interchangeable. The short interval sequence which was effective in a hit song, the hero’s momentary fall from grace (which he accepts as good sport), the rough treatment which the beloved gets from the male star, the latter’s rugged defiance of the spoilt heiress, are, like all the other details, ready-made clichés to be slotted in anywhere; they never do anything more than fulfil the purpose allotted them in the overall plan. Their whole raison d’être is to confirm it by being its constituent parts. As soon as the film begins, it is quite clear how it will end, and who will be rewarded, punished, or forgotten. In light music, once the trained ear has heard the first notes of the hit song, it can guess what is coming and feel flattered when it does come. The average length of the short story has to be rigidly adhered to. Even gags, effects, and jokes are calculated like the setting in which they are placed. They are the responsibility of special experts and their narrow range makes it easy for them to be apportioned in the office.
If “everything derives from consciousness” then there is a disconnect from materiality, from society, from specificity. Culture then is based not on life but on “types,” forms. These forms supplant the possibility (for the reader, listener, viewer, etc.) of actively participating in culture.
CI formulas. The standardization of aesthetic experience, a category debased into leisure.
The development of the culture industry has led to the predominance of the effect, the obvious touch, and the technical detail over the work itself – which once expressed an idea, but was liquidated together with the idea. When the detail won its freedom, it became rebellious and, in the period from Romanticism to Expressionism, asserted itself as free expression, as a vehicle of protest against the organisation. In music the single harmonic effect obliterated the awareness of form as a whole; in painting the individual colour was stressed at the expense of pictorial composition; and in the novel psychology became more important than structure. The totality of the culture industry has put an end to this.
If avant-garde artists emphasized the detail of a work over its unity as a form of protest, the CI adopts and apotheosizes this tactic thus precluding its use as a gesture of rebellion. What was daring becomes commonplace, its force blunted. This idea developed in the following paragraph.
Though concerned exclusively with effects, it crushes their insubordination and makes them subserve the formula, which replaces the work. The same fate is inflicted on whole and parts alike. The whole inevitably bears no relation to the details – just like the career of a successful man into which everything is made to fit as an illustration or a proof, whereas it is nothing more than the sum of all those idiotic events. The so-called dominant idea is like a file which ensures order but not coherence. The whole and the parts are alike; there is no antithesis and no connection. Their prearranged harmony is a mockery of what had to be striven after in the great bourgeois works of art. In Germany the graveyard stillness of the dictatorship already hung over the gayest films of the democratic era.
What does the striking image of the last sentence mean? That the totalizing formulaicism of the Culture Industry (here in Weimar-era films) prophesied the totalitarianism of fascist Germany? Adorno is operating between different registers: the procedures of the CI resonate at another, political level.
The whole world is made to pass through the filter of the culture industry. The old experience of the movie-goer, who sees the world outside as an extension of the film he has just left (because the latter is intent upon reproducing the world of everyday perceptions), is now the producer’s guideline. The more intensely and flawlessly his techniques duplicate empirical objects, the easier it is today for the illusion to prevail that the outside world is the straightforward continuation of that presented on the screen. This purpose has been furthered by mechanical reproduction since the lightning takeover by the sound film.
The paragraphs above and below seem to suggest a condition of what has come to be known as hypperreality. The division between the experience of life and CI product becomes increasingly vague. This muddy sense of what is real– life as an extension of the film– is troubling precisely because “the sound film… leaves no room for imagination or reflection on the part of the audience”– i.e., the audience has no autonomy.
Real life is becoming indistinguishable from the movies. The sound film, far surpassing the theatre of illusion, leaves no room for imagination or reflection on the part of the audience, who is unable to respond within the structure of the film, yet deviate from its precise detail without losing the thread of the story; hence the film forces its victims to equate it directly with reality. The stunting of the mass-media consumer’s powers of imagination and spontaneity does not have to be traced back to any psychological mechanisms; he must ascribe the loss of those attributes to the objective nature of the products themselves, especially to the most characteristic of them, the sound film. They are so designed that quickness, powers of observation, and experience are undeniably needed to apprehend them at all; yet sustained thought is out of the question if the spectator is not to miss the relentless rush of facts.
Film is not without its demands, yet these demands are trivial. (ex. your grandmother is dazzled by the rapid cuts of a blockbuster trailer while your little nephew follows them exactly. Not a matter of thought but of perception)
Even though the effort required for his response is semi-automatic, no scope is left for the imagination. Those who are so absorbed by the world of the movie – by its images, gestures, and words – that they are unable to supply what really makes it a world, do not have to dwell on particular points of its mechanics during a screening. All the other films and products of the entertainment industry which they have seen have taught them what to expect; they react automatically.
We might think about continuity editing here, a set of methods intended to conceal from the audience the fact that they are watching a series of still images projected at the rate at which the “flicker fusion effect” occurs, cobbled together to give the illusion of reality.
The might of industrial society is lodged in men’s minds. The entertainments manufacturers know that their products will be consumed with alertness even when the customer is distraught, for each of them is a model of the huge economic machinery which has always sustained the masses, whether at work or at leisure – which is akin to work. From every sound film and every broadcast program the social effect can be inferred which is exclusive to none but is shared by all alike. The culture industry as a whole has moulded men as a type unfailingly reproduced in every product. All the agents of this process, from the producer to the women’s clubs, take good care that the simple reproduction of this mental state is not nuanced or extended in any way.
“Leisure… is akin to work.”
Here again is the strange relationship between macrocosm and microcosm, an ersatz identification.
FILM CLIP: THEY LIVE
The art historians and guardians of culture who complain of the extinction in the West of a basic style-determining power are wrong. The stereotyped appropriation of everything, even the inchoate, for the purposes of mechanical reproduction surpasses the rigour and general currency of any “real style,” in the sense in which cultural cognoscenti celebrate the organic pre-capitalist past. No Palestrina could be more of a purist in eliminating every unprepared and unresolved discord than the jazz arranger in suppressing any development which does not conform to the jargon. When jazzing up Mozart he changes him not only when he is too serious or too difficult but when he harmonises the melody in a different way, perhaps more simply, than is customary now. No medieval builder can have scrutinised the subjects for church windows and sculptures more suspiciously than the studio hierarchy scrutinises a work by Balzac or Hugo before finally approving it. No medieval theologian could have determined the degree of the torment to be suffered by the damned in accordance with the order of divine love more meticulously than the producers of shoddy epics calculate the torture to be undergone by the hero or the exact point to which the leading lady’s hemline shall be raised. The explicit and implicit, exoteric and esoteric catalogue of the forbidden and tolerated is so extensive that it not only defines the area of freedom but is all-powerful inside it. Everything down to the last detail is shaped accordingly.
Note: When Adorno writes “Jazz” he means “popular music”– i.e. what we might deride as top 40 dreck.
This marvelous passage describes the total routinization of the CI.
Like its counterpart, avant-garde art, the entertainment industry determines its own language, down to its very syntax and vocabulary, by the use of anathema. The constant pressure to produce new effects (which must conform to the old pattern) serves merely as another rule to increase the power of the conventions when any single effect threatens to slip through the net. Every detail is so firmly stamped with sameness that nothing can appear which is not marked at birth, or does not meet with approval at first sight. And the star performers, whether they produce or reproduce, use this jargon as freely and fluently and with as much gusto as if it were the very language which it silenced long ago. Such is the ideal of what is natural in this field of activity, and its influence becomes all the more powerful, the more technique is perfected and diminishes the tension between the finished product and everyday life. The paradox of this routine, which is essentially travesty, can be detected and is often predominant in everything that the culture industry turns out. A jazz musician who is playing a piece of serious music, one of Beethoven’s simplest minuets, syncopates it involuntarily and will smile superciliously when asked to follow the normal divisions of the beat. This is the “nature” which, complicated by the ever-present and extravagant demands of the specific medium, constitutes the new style and is a “system of non-culture, to which one might even concede a certain ‘unity of style’ if it really made any sense to speak of stylised barbarity.” [Nietzsche]
CI as “nature” or at least with a naturalizing function. The realization of the CI– the perfection of its falsity– becomes a kind of nature. As the distinction between CI product and life diminishes the infection of this “nature” spreads.
The universal imposition of this stylised mode can even go beyond what is quasi-officially sanctioned or forbidden; today a hit song is more readily forgiven for not observing the 32 beats or the compass of the ninth than for containing even the most clandestine melodic or harmonic detail which does not conform to the idiom. Whenever Orson Welles offends against the tricks of the trade, he is forgiven because his departures from the norm are regarded as calculated mutations which serve all the more strongly to confirm the validity of the system. The constraint of the technically-conditioned idiom which stars and directors have to produce as “nature” so that the people can appropriate it, extends to such fine nuances that they almost attain the subtlety of the devices of an avant-garde work as against those of truth. The rare capacity minutely to fulfil the obligations of the natural idiom in all branches of the culture industry becomes the criterion of efficiency. What and how they say it must be measurable by everyday language, as in logical positivism.
Yet a deviation from that “nature” is permissible and perhaps even desirable in that it confirms the former. We should also consider the significance of the last lines of the above paragraph which seem to indicate that there is no remainder, no excess, that might provide a space for reflection.
The producers are experts. The idiom demands an astounding productive power, which it absorbs and squanders. In a diabolical way it has overreached the culturally conservative distinction between genuine and artificial style. A style might be called artificial which is imposed from without on the refractory impulses of a form. But in the culture industry every element of the subject matter has its origin in the same apparatus as that jargon whose stamp it bears. The quarrels in which the artistic experts become involved with sponsor and censor about a lie going beyond the bounds of credibility are evidence not so much of an inner aesthetic tension as of a divergence of interests. The reputation of the specialist, in which a last remnant of objective independence sometimes finds refuge, conflicts with the business politics of the Church, or the concern which is manufacturing the cultural commodity. But the thing itself has been essentially objectified and made viable before the established authorities began to argue about it. Even before Zanuck acquired her, Saint Bernadette was regarded by her latter-day hagiographer as brilliant propaganda for all interested parties. That is what became of the emotions of the character. Hence the style of the culture industry, which no longer has to test itself against any refractory material, is also the negation of style. The reconciliation of the general and particular, of the rule and the specific demands of the subject matter, the achievement of which alone gives essential, meaningful content to style, is futile because there has ceased to be the slightest tension between opposite poles: these concordant extremes are dismally identical; the general can replace the particular, and vice versa.
What is indicated here is an absolute uniformity. With no friction between form and content style evaporates. Also of importance is the phrase “the reconciliation of the general and the particular,” which speaks not only to aesthetic concerns about the relationship between form and content, but of the individual (part) to the world (whole).
Nevertheless, this caricature of style does not amount to something beyond the genuine style of the past. In the culture industry the notion of genuine style is seen to be the aesthetic equivalent of domination. Style considered as mere aesthetic regularity is a romantic dream of the past. The unity of style not only of the Christian Middle Ages but of the Renaissance expresses in each case the different structure of social power, and not the obscure experience of the oppressed in which the general was enclosed. The great artists were never those who embodied a wholly flawless and perfect style, but those who used style as a way of hardening themselves against the chaotic expression of suffering, as a negative truth. The style of their works gave what was expressed that force without which life flows away unheard. Those very art forms which are known as classical, such as Mozart’s music, contain objective trends which represent something different to the style which they incarnate.
Adorno & Hork tell us something about art.
As late as Schönberg and Picasso, the great artists have retained a mistrust of style, and at crucial points have subordinated it to the logic of the matter. What Dadaists and Expressionists called the untruth of style as such triumphs today in the sung jargon of a crooner, in the carefully contrived elegance of a film star, and even in the admirable expertise of a photograph of a peasant’s squalid hut. Style represents a promise in every work of art. That which is expressed is subsumed through style into the dominant forms of generality, into the language of music, painting, or words, in the hope that it will be reconciled thus with the idea of true generality. This promise held out by the work of art that it will create truth by lending new shape to the conventional social forms is as necessary as it is hypocritical. It unconditionally posits the real forms of life as it is by suggesting that fulfilment lies in their aesthetic derivatives. To this extent the claim of art is always ideology too.
More commentary on art. Style is also significant here. In the genuine work of art, style is an opportunity to reconcile specific content with the “general” language of a given form– music, painting, etc.– and thus “the idea of true generality.” The relationship between art and society is crucial to Adorno’s thought. He is gesturing at the possibility that it is in art that we can escape falsity, that art is a domain of experience that has something important to tell us about society.
However, only in this confrontation with tradition of which style is the record can art express suffering. That factor in a work of art which enables it to transcend reality certainly cannot be detached from style; but it does not consist of the harmony actually realised, of any doubtful unity of form and content, within and without, of individual and society; it is to be found in those features in which discrepancy appears: in the necessary failure of the passionate striving for identity. Instead of exposing itself to this failure in which the style of the great work of art has always achieved self-negation, the inferior work has always relied on its similarity with others – on a surrogate identity.
Real art risks itself, does not possess a machined surface. There is an overlap, an excess, a “necessary failure.”
In the culture industry this imitation finally becomes absolute. Having ceased to be anything but style, it reveals the latter’s secret: obedience to the social hierarchy.Today aesthetic barbarity completes what has threatened the creations of the spirit since they were gathered together as culture and neutralised. To speak of culture was always contrary to culture. Culture as a common denominator already contains in embryo that schematisation and process of cataloguing and classification which bring culture within the sphere of administration. And it is precisely the industrialised, the consequent, subsumption which entirely accords with this notion of culture. By subordinating in the same way and to the same end all areas of intellectual creation, by occupying men’s senses from the time they leave the factory in the evening to the time they clock in again the next morning with matter that bears the impress of the labor process they themselves have to sustain throughout the day, this subsumption mockingly satisfies the concept of a unified culture which the philosophers of personality contrasted with mass culture.
A critique of what in Dialectic of Enlightenment is termed “myth”– part of the larger argument of that text. The key here is that the relationship between “myth” and “enlightenment” is dialectical, or in Adorno and Horkheimer’s phrasing, “Myth is already enlightenment and enlightenment reverts to mythology.” In other words “to speak of culture” is to rationalize “mythic” practices, the substance of shared social life and the effort to explain the world. Yet myths themselves are an effort to explain the world. The seeds of rationality thus lie in myth. More to the point, culture’s rationalizing potential is enhanced by industrial conditions, where leisure and work share the same logic, producing a travesty of a “unified culture” imagined by 19th century philosophers.
And so the culture industry, the most rigid of all styles, proves to be the goal of liberalism, which is reproached for its lack of style. Not only do its categories and contents derive from liberalism – domesticated naturalism as well as operetta and revue – but the modern culture monopolies form the economic area in which, together with the corresponding entrepreneurial types, for the time being some part of its sphere of operation survives, despite the process of disintegration elsewhere.
Adorno is of course referring to economic liberalism, which is to say capitalism. He is also making a claim about the tendency to monopoly exhibited by capitalism and the effects of that process on the CI.
It is still possible to make one’s way in entertainment, if one is not too obstinate about one’s own concerns, and proves appropriately pliable. Anyone who resists can only survive by fitting in. Once his particular brand of deviation from the norm has been noted by the industry, he belongs to it as does the land-reformer to capitalism. Realistic dissidence is the trademark of anyone who has a new idea in business. In the public voice of modern society accusations are seldom audible; if they are, the perceptive can already detect signs that the dissident will soon be reconciled. The more immeasurable the gap between chorus and leaders, the more certainly there is room at the top for everybody who demonstrates his superiority by well-planned originality. Hence, in the culture industry, too, the liberal tendency to give full scope to its able men survives.
The argument here concerns classical liberalism vs. Keynesianism (a planned economy). Even as mass society is characterized by monopoly and monolithic corporate interests, traces of laissez-faire persist, though they have been carefully channeled into the logic of reproducing the culture industry.
To do this for the efficient today is still the function of the market, which is otherwise proficiently controlled; as for the market’s freedom, in the high period of art as elsewhere, it was freedom for the stupid to starve. Significantly, the system of the culture industry comes from the more liberal industrial nations, and all its characteristic media, such as movies, radio, jazz, and magazines, flourish there. Its progress, to be sure, had its origin in the general laws of capital. Gaumont and Pathe, Ullstein and Hugenberg followed the international trend with some success; Europe’s economic dependence on the United States after war and inflation was a contributory factor. The belief that the barbarity of the culture industry is a result of “cultural lag,” of the fact that the American consciousness did not keep up with the growth of technology, is quite wrong. It was pre-Fascist Europe which did not keep up with the trend toward the culture monopoly.
A brutal and hilarious criticism of a free market commonplace, followed by an inversion. Oddly enough, the barbarism of the Culture Industry is not a product of American productive power outstripping its cultural development, but of Europe lagging behind in “culture monopoly.” The irony here is that if the CI is a massified institution that totalizes human experience and flattens difference, it nonetheless came from “liberal” (i.e. individualistic) America. The reasons for this, as Adorno suggests, have to do with the historical development of capitalism.
But it was this very lag which left intellect and creativity some degree of independence and enabled its last representatives to exist – however dismally. In Germany the failure of democratic control to permeate life had led to a paradoxical situation. Many things were exempt from the market mechanism which had invaded the Western countries. The German educational system, universities, theatres with artistic standards, great orchestras, and museums enjoyed protection. The political powers, state and municipalities, which had inherited such institutions from absolutism, had left them with a measure of the freedom from the forces of power which dominates the market, just as princes and feudal lords had done up to the nineteenth century. This strengthened art in this late phase against the verdict of supply and demand, and increased its resistance far beyond the actual degree of protection. In the market itself the tribute of a quality for which no use had been found was turned into purchasing power; in this way, respectable literary and music publishers could help authors who yielded little more in the way of profit than the respect of the connoisseur.
The development of the CI in Germany: with more areas of society free of capitalist influence it was Germany which lagged behind in the rationalization of culture. Open to market pressures, cultural life becomes a matter of profitability rather than maintaining an “autonomous” space of reflection and critique.
But what completely fettered the artist was the pressure (and the accompanying drastic threats), always to fit into business life as an aesthetic expert. Formerly, like Kant and Hume, they signed their letters “Your most humble and obedient servant,” and undermined the foundations of throne and altar. Today they address heads of government by their first names, yet in every artistic activity they are subject to their illiterate masters.
A democratization of manners conceals a social subordination.
The analysis Tocqueville offered a century ago has in the meantime proved wholly accurate. Under the private culture monopoly it is a fact that “tyranny leaves the body free and directs its attack at the soul. The ruler no longer says: You must think as I do or die. He says: You are free not to think as I do; your life, your property, everything shall remain yours, but from this day on you are a stranger among us.” Not to conform means to be rendered powerless, economically and therefore spiritually – to be “self-employed.” When the outsider is excluded from the concern, he can only too easily be accused of incompetence.
A reference to Alexis de Tocqueville’s Democracy in America, written in the early 19th century. The criticism that author made, Adorno argues, stands the test of time: if we are free in terms of civil liberties and property, we have become so at the cost of being divorced from society. Society as a collection of social atoms whose relationships to one another are mediated through the market.
Whereas today in material production the mechanism of supply and demand is disintegrating, in the superstructure it still operates as a check in the rulers’ favour. The consumers are the workers and employees, the farmers and lower middle class. Capitalist production so confines them, body and soul, that they fall helpless victims to what is offered them. As naturally as the ruled always took the morality imposed upon them more seriously than did the rulers themselves, the deceived masses are today captivated by the myth of success even more than the successful are. Immovably, they insist on the very ideology which enslaves them. The misplaced love of the common people for the wrong which is done them is a greater force than the cunning of the authorities. It is stronger even than the rigorism of the Hays Office, just as in certain great times in history it has inflamed greater forces that were turned against it, namely, the terror of the tribunals. It calls for Mickey Rooney in preference to the tragic Garbo, for Donald Duck instead of Betty Boop. The industry submits to the vote which it has itself inspired. What is a loss for the firm which cannot fully exploit a contract with a declining star is a legitimate expense for the system as a whole. By craftily sanctioning the demand for rubbish it inaugurates total harmony. The connoisseur and the expert are despised for their pretentious claim to know better than the others, even though culture is democratic and distributes its privileges to all. In view of the ideological truce, the conformism of the buyers and the effrontery of the producers who supply them prevail. The result is a constant reproduction of the same thing.
One of the most damning passages in the essay. A closed system. The Culture Industry’s appeal to democracy, so seductive to Americans, is in fact contempt for the masses, who demand they remain enslaved.
A constant sameness governs the relationship to the past as well. What is new about the phase of mass culture compared with the late liberal stage is the exclusion of the new. The machine rotates on the same spot. While determining consumption it excludes the untried as a risk. The movie-makers distrust any manuscript which is not reassuringly backed by a bestseller. Yet for this very reason there is never-ending talk of ideas, novelty, and surprise, of what is taken for granted but has never existed. Tempo and dynamics serve this trend. Nothing remains as of old; everything has to run incessantly, to keep moving. For only the universal triumph of the rhythm of mechanical production and reproduction promises that nothing changes, and nothing unsuitable will appear. Any additions to the well-proven culture inventory are too much of a speculation. The ossified forms – such as the sketch, short story, problem film, or hit song – are the standardised average of late liberal taste, dictated with threats from above. The people at the top in the culture agencies, who work in harmony as only one manager can with another, whether he comes from the rag trade or from college, have long since reorganised and rationalised the objective spirit. One might think that an omnipresent authority had sifted the material and drawn up an official catalogue of cultural commodities to provide a smooth supply of available mass-produced lines. The ideas are written in the cultural firmament where they had already been numbered by Plato – and were indeed numbers, incapable of increase and immutable.
Standardization. The absence of innovation is concealed by insistence upon it. The incessant turnover of CI product ensures that that product will not change.
Amusement and all the elements of the culture industry existed long before the latter came into existence. Now they are taken over from above and brought up to date. The culture industry can pride itself on having energetically executed the previously clumsy transposition of art into the sphere of consumption, on making this a principle, on divesting amusement of its obtrusive naïvetes and improving the type of commodities. The more absolute it became, the more ruthless it was in forcing every outsider either into bankruptcy or into a syndicate, and became more refined and elevated – until it ended up as a synthesis of Beethoven and the Casino de Paris. It enjoys a double victory: the truth it extinguishes without it can reproduce at will as a lie within. “Light” art as such, distraction, is not a decadent form. Anyone who complains that it is a betrayal of the ideal of pure expression is under an illusion about society. The purity of bourgeois art, which hypostasised itself as a world of freedom in contrast to what was happening in the material world, was from the beginning bought with the exclusion of the lower classes – with whose cause, the real universality, art keeps faith precisely by its freedom from the ends of the false universality. Serious art has been withheld from those for whom the hardship and oppression of life make a mockery of seriousness, and who must be glad if they can use time not spent at the production line just to keep going. Light art has been the shadow of autonomous art. It is the social bad conscience of serious art. The truth which the latter necessarily lacked because of its social premises gives the other the semblance of legitimacy. The division itself is the truth: it does at least express the negativity of the culture which the different spheres constitute. Least of all can the antithesis be reconciled by absorbing light into serious art, or vice versa. But that is what the culture industry attempts.
Note the dialectical structure of the first bolded sentence.
“Real universality” means a class for itself– the proletariat is the true universal in this context.
The eccentricity of the circus, peepshow, and brothel is as embarrassing to it as that of Schönberg and Karl Kraus. And so the jazz musician Benny Goodman appears with the Budapest string quartet, more pedantic rhythmically than any philharmonic clarinettist, while the style of the Budapest players is as uniform and sugary as that of Guy Lombardo. But what is significant is not vulgarity, stupidity, and lack of polish.
No room for true eccentricity.
The culture industry did away with yesterday’s rubbish by its own perfection, and by forbidding and domesticating the amateurish, although it constantly allows gross blunders without which the standard of the exalted style cannot be perceived. But what is new is that the irreconcilable elements of culture, art and distraction, are subordinated to one end and subsumed under one false formula: the totality of the culture industry. It consists of repetition. That its characteristic innovations are never anything more than improvements of mass reproduction is not external to the system. It is with good reason that the interest of innumerable consumers is directed to the technique, and not to the contents – which are stubbornly repeated, outworn, and by now half-discredited. The social power which the spectators worship shows itself more effectively in the omnipresence of the stereotype imposed by technical skill than in the stale ideologies for which the ephemeral contents stand in.
The subordination of all activity to the demands of the CI. Repetition.
The social power of capital is easier to recognize in CI forms than their content, which even the most naive consumer often understands to be hackneyed.
Nevertheless the culture industry remains the entertainment business. Its influence over the consumers is established by entertainment; that will ultimately be broken not by an outright decree, but by the hostility inherent in the principle of entertainment to what is greater than itself. Since all the trends of the culture industry are profoundly embedded in the public by the whole social process, they are encouraged by the survival of the market in this area. Demand has not yet been replaced by simple obedience. As is well known, the major reorganisation of the film industry shortly before World War I, the material prerequisite of its expansion, was precisely its deliberate acceptance of the public’s needs as recorded at the box-office – a procedure which was hardly thought necessary in the pioneering days of the screen. The same opinion is held today by the captains of the film industry, who take as their criterion the more or less phenomenal song hits but wisely never have recourse to the judgment of truth, the opposite criterion. Business is their ideology. It is quite correct that the power of the culture industry resides in its identification with a manufactured need, and not in simple contrast to it, even if this contrast were one of complete power and complete powerlessness.
Think about ipods, myspace, personal computers, etc.– the technology of individualism, of the individual as a social atom disconnected from others in terms of face to face interactions. Not only is domination effected under the rubric of choice but sameness is established in the guise of individuality.
Amusement under late capitalism is the prolongation of work. It is sought after as an escape from the mechanised work process, and to recruit strength in order to be able to cope with it again. But at the same time mechanisation has such power over a man’s leisure and happiness, and so profoundly determines the manufacture of amusement goods, that his experiences are inevitably after-images of the work process itself. The ostensible content is merely a faded foreground; what sinks in is the automatic succession of standardised operations. What happens at work, in the factory, or in the office can only be escaped from by approximation to it in one’s leisure time.
Pop culture, leisure, as medicine, as dope for the worker, yet also as a another form of work. Ex. computer games which exhaust us with their demands on our concentration.
All amusement suffers from this incurable malady. Pleasure hardens into boredom because, if it is to remain pleasure, it must not demand any effort and therefore moves rigorously in the worn grooves of association. No independent thinking must be expected from the audience: the product prescribes every reaction: not by its natural structure (which collapses under reflection), but by signals. Any logical connection calling for mental effort is painstakingly avoided. As far as possible, developments must follow from the immediately preceding situation and never from the idea of the whole.For the attentive movie-goer any individual scene will give him the whole thing. Even the set pattern itself still seems dangerous, offering some meaning – wretched as it might be – where only meaninglessness is acceptable. Often the plot is maliciously deprived of the development demanded by characters and matter according to the old pattern. Instead, the next step is what the script writer takes to be the most striking effect in the particular situation. Banal though elaborate surprise interrupts the story-line.
Pleasure as a category, one related, as we will see, to “fun.”
ex. Film trailers that preclude the need to watch the films they advertise because the narrative is already fragmented. Effects predominate over narrative.
The tendency mischievously to fall back on pure nonsense, which was a legitimate part of popular art, farce and clowning, right up to Chaplin and the Marx Brothers, is most obvious in the unpretentious kinds. This tendency has completely asserted itself in the text of the novelty song, in the thriller movie, and in cartoons, although in films starring Greer Garson and Bette Davis the unity of the socio-psychological case study provides something approximating a claim to a consistent plot. The idea itself, together with the objects of comedy and terror, is massacred and fragmented. Novelty songs have always existed on a contempt for meaning which, as predecessors and successors of psychoanalysis, they reduce to the monotony of sexual symbolism. Today, detective and adventure films no longer give the audience the opportunity to experience the resolution. In the non-ironic varieties of the genre, it has also to rest content with the simple horror of situations which have almost ceased to be linked in any way.
Nonsense, ” a legitimate part of popular [i.e., folk] art,” has become a governing feature of CI product: causes and effects, narrative, development– even ideas as such– are dispensed with in the interests of sensation.
Cartoons were once exponents of fantasy as opposed to rationalism. They ensured that justice was done to the creatures and objects they electrified, by giving the maimed specimens a second life. All they do today is to confirm the victory of technological reason over truth. A few years ago they had a consistent plot which only broke up in the final moments in a crazy chase, and thus resembled the old slapstick comedy. Now, however, time relations have shifted. In the very first sequence a motive is stated so that in the course of the action destruction can get to work on it: with the audience in pursuit, the protagonist becomes the worthless object of general violence. The quantity of organised amusement changes into the quality of organised cruelty. The self-elected censors of the film industry (with whom it enjoys a close relationship) watch over the unfolding of the crime, which is as drawn-out as a hunt. Fun replaces the pleasure which the sight of an embrace would allegedly afford, and postpones satisfaction till the day of the pogrom. Insofar as cartoons do any more than accustom the senses to the new tempo, they hammer into every brain the old lesson that continuous friction, the breaking down of all individual resistance, is the condition of life in this society. Donald Duck in the cartoons and the unfortunate in real life get their thrashing so that the audience can learn to take their own punishment.
Adorno’s reading of cartoons: if cartoons have in the past functioned to subvert rationalism, today they exemplify the triumph of “technological reason.” Emplotment is discarded for the sheer number of situations encountered by cartoon characters, who are subjected to an endless series of misfortunes. Adorno suggests that cartoon violence is a lesson for audiences.
The enjoyment of the violence suffered by the movie character turns into violence against the spectator, and distraction into exertion. Nothing that the experts have devised as a stimulant must escape the weary eye; no stupidity is allowed in the face of all the trickery; one has to follow everything and even display the smart responses shown and recommended in the film. This raises the question whether the culture industry fulfils the function of diverting minds which it boasts about so loudly. If most of the radio stations and movie theatres were closed down, the consumers would probably not lose so very much. To walk from the street into the movie theatre is no longer to enter a world of dream; as soon as the very existence of these institutions no longer made it obligatory to use them, there would be no great urge to do so. Such closures would not be reactionary machine wrecking. The disappointment would be felt not so much by the enthusiasts as by the slow-witted, who are the ones who suffer for everything anyhow. In spite of the films which are intended to complete her integration, the housewife finds in the darkness of the movie theatre a place of refuge where she can sit for a few hours with nobody watching, just as she used to look out of the window when there were still homes and rest in the evening. The unemployed in the great cities find coolness in summer and warmth in winter in these temperature-controlled locations. Otherwise, despite its size, this bloated pleasure apparatus adds no dignity to man’s lives. The idea of “fully exploiting” available technical resources and the facilities for aesthetic mass consumption is part of the economic system which refuses to exploit resources to abolish hunger.
Screen violence is an assault on the audience, which mistakes its brutalization for pleasure. Again, entertainment as a kind of work. The CI demands our response as an audience.
The final sentence: a sharp criticism of late capitalism.
The culture industry perpetually cheats its consumers of what it perpetually promises. The promissory note which, with its plots and staging, it draws on pleasure is endlessly prolonged; the promise, which is actually all the spectacle consists of, is illusory: all it actually confirms is that the real point will never be reached, that the diner must be satisfied with the menu. In front of the appetite stimulated by all those brilliant names and images there is finally set no more than a commendation of the depressing everyday world it sought to escape. Of course works of art were not sexual exhibitions either. However, by representing deprivation as negative, they retracted, as it were, the prostitution of the impulse and rescued by mediation what was denied.
The work vs. the CI product. The promise of CI pleasures are never fulfilled; the desires provoked by the CI cannot be satiated. This in distinction to the work, which understands deprivation and takes up the idea of lack. The difference here is between an absence which is inherent to CI product and an absence which is the subject of critical art, or, in other words, it is the difference between a structural feature of CI and a thematic or formal concern of the work. In the following paragraph, Adorno expands:
The secret of aesthetic sublimation is its representation of fulfilment as a broken promise. The culture industry does not sublimate; it represses. By repeatedly exposing the objects of desire, breasts in a clinging sweater or the naked torso of the athletic hero, it only stimulates the unsublimated forepleasure which habitual deprivation has long since reduced to a masochistic semblance. There is no erotic situation which, while insinuating and exciting, does not fail to indicate unmistakably that things can never go that far. The Hays Office merely confirms the ritual of Tantalus that the culture industry has established anyway. Works of art are ascetic and unashamed; the culture industry is pornographic and prudish. Love is downgraded to romance. And, after the descent, much is permitted; even license as a marketable speciality has its quota bearing the trade description “daring.” The mass production of the sexual automatically achieves its repression. Because of his ubiquity, the film star with whom one is meant to fall in love is from the outset a copy of himself. Every tenor voice comes to sound like a Caruso record, and the “natural” faces of Texas girls are like the successful models by whom Hollywood has typecast them. The mechanical reproduction of beauty, which reactionary cultural fanaticism wholeheartedly serves in its methodical idolisation of individuality, leaves no room for that unconscious idolatry which was once essential to beauty.
The CI teases its consumers, refusing to fulfill what has been implied. The phrase “love is downgraded to romance” is essential to understand this process. Love, which has a sweep and power that is hard to account for completely, is rendered superficial, reduced to mere romance.
Again, this process is determined to a large extent by the scale of its operations.
The triumph over beauty is celebrated by humour – the Schadenfreude that every successful deprivation calls forth. There is laughter because there is nothing to laugh at. Laughter, whether conciliatory or terrible, always occurs when some fear passes. It indicates liberation either from physical danger or from the grip of logic. Conciliatory laughter is heard as the echo of an escape from power; the wrong kind overcomes fear by capitulating to the forces which are to be feared. It is the echo of power as something inescapable. Fun is a medicinal bath. The pleasure industry never fails to prescribe it. It makes laughter the instrument of the fraud practised on happiness. Moments of happiness are without laughter; only operettas and films portray sex to the accompaniment of resounding laughter. But Baudelaire is as devoid of humour as Hölderlin. In the false society laughter is a disease which has attacked happiness and is drawing it into its worthless totality. To laugh at something is always to deride it, and the life which, according to Bergson, in laughter breaks through the barrier, is actually an invading barbaric life, self-assertion prepared to parade its liberation from any scruple when the social occasion arises. Such a laughing audience is a parody of humanity. Its members are monads, all dedicated to the pleasure of being ready for anything at the expense of everyone else. Their harmony is a caricature of solidarity. What is fiendish about this false laughter is that it is a compelling parody of the best, which is conciliatory. Delight is austere: res severa verum gaudium. The monastic theory that not asceticism but the sexual act denotes the renunciation of attainable bliss receives negative confirmation in the gravity of the lover who with foreboding commits his life to the fleeting moment. In the culture industry, jovial denial takes the place of the pain found in ecstasy and in asceticism. The supreme law is that they shall not satisfy their desires at any price; they must laugh and be content with laughter. In every product of the culture industry, the permanent denial imposed by civilisation is once again unmistakably demonstrated and inflicted on its victims. To offer and to deprive them of something is one and the same. This is what happens in erotic films. Precisely because it must never take place, everything centres upon copulation. In films it is more strictly forbidden for an illegitimate relationship to be admitted without the parties being punished than for a millionaire’s future son-in-law to be active in the labour movement. In contrast to the liberal era, industrialised as well as popular culture may wax indignant at capitalism, but it cannot renounce the threat of castration. This is fundamental. It outlasts the organised acceptance of the uniformed seen in the films which are produced to that end, and in reality. What is decisive today is no longer puritanism, although it still asserts itself in the form of women’s organisations, but the necessity inherent in the system not to leave the customer alone, not for a moment to allow him any suspicion that resistance is possible.
res severa verum gaudium= “true pleasure is a serious matter”
Laughter and fun are forms of “jovial denial” in the CI. The CI is incapable of plumbing the depths of the emotions.
The principle dictates that he should be shown all his needs as capable of-fulfilment, but that those needs should be so predetermined that he feels himself to be the eternal consumer, the object of the culture industry. Not only does it make him believe that the deception it practices is satisfaction, but it goes further and implies that, whatever the state of affairs, he must put up with what is offered. The escape from everyday drudgery which the whole culture industry promises may be compared to the daughter’s abduction in the cartoon: the father is holding the ladder in the dark. The paradise offered by the culture industry is the same old drudgery. Both escape and elopement are pre-designed to lead back to the starting point. Pleasure promotes the resignation which it ought to help to forget.
False needs are manufactured and “fulfilled” by the same falsity, leaving the CI consumer in a perpetual state of longing which becomes a form of resignation to the absence of any avenue of escape.
Even today the culture industry dresses works of art like political slogans and forces them upon a resistant public at reduced prices; they are as accessible for public enjoyment as a park. But the disappearance of their genuine commodity character does not mean that they have been abolished in the life of a free society, but that the last defence against their reduction to culture goods has fallen. The abolition of educational privilege by the device of clearance sales does not open for the masses the spheres from which they were formerly excluded, but, given existing social conditions, contributes directly to the decay of education and the progress of barbaric meaninglessness. Those who spent their money in the nineteenth or the early twentieth century to see a play or to go to a concert respected the performance as much as the money they spent. The bourgeois who wanted to get something out of it tried occasionally to establish some rapport with the work. Evidence for this is to be found in the literary “introductions” to works, or in the commentaries on Faust. These were the first steps toward the biographical coating and other practices to which a work of art is subjected today.
The historical process described in the passages above is referenced again.
We might ask what Adorno means by the “genuine commodity character of art.” The original specificity of an artwork is transformed by its mass reproduction. In distinction to the bourgeois philistine, who desired to “get the most out of” a work, even this reductive approach to art has been foreclosed.
Even in the early, prosperous days of business, exchange-value did carry use value as a mere appendix but had developed it as a prerequisite for its own existence; this was socially helpful for works of art. Art exercised some restraint on the bourgeois as long as it cost money. That is now a thing of the past. Now that it has lost every restraint and there is no need to pay any money, the proximity of art to those who are exposed to it completes the alienation and assimilates one to the other under the banner of triumphant objectivity. Criticism and respect disappear in the culture industry; the former becomes a mechanical expertise, the latter is succeeded by a shallow cult of leading personalities. Consumers now find nothing expensive. Nevertheless, they suspect that the less anything costs, the less it is being given them. The double mistrust of traditional culture as ideology is combined with mistrust of industrialised culture as a swindle. When thrown in free, the now debased works of art, together with the rubbish to which the medium assimilates them, are secretly rejected by the fortunate recipients, who are supposed to be satisfied by the mere fact that there is so much to be seen and heard. Everything can be obtained. The screenos and vaudevilles in the movie theatre, the competitions for guessing music, the free books, rewards and gifts offered on certain radio programs, are not mere accidents but a continuation of the practice obtaining with culture products. The symphony becomes a reward for listening to the radio, and – if technology had its way – the film would be delivered to people’s homes as happens with the radio. It is moving toward the commercial system. Television points the way to a development which might easily enough force the Warner Brothers into what would certainly be the unwelcome position of serious musicians and cultural conservatives. But the gift system has already taken hold among consumers. As culture is represented as a bonus with undoubted private and social advantages, they have to seize the chance. They rush in lest they miss something. Exactly what, is not clear, but in any case the only ones with a chance are the participants. Fascism, however, hopes to use the training the culture industry has given these recipients of gifts, in order to organise them into its own forced battalions.
A complex passage. What seems to be indicated is the total conversion of use-value to exchange value, a process Adorno dates to the early stages of “liberalism” and extends to the (his) present. The democratization of access to works of art has not “educated” the masses but transformed the character of that art. Art is now simply more product, part of a massive landscape of cultural “choices”: the Mona Lisa, Hello Kitty, Tristan and Isolde, Deep Impact, etc. What is at issue here is the idea of equivalence.
Culture is a paradoxical commodity. So completely is it subject to the law of exchange that it is no longer exchanged; it is so blindly consumed in use that it can no longer be used. Therefore it amalgamates with advertising. The more meaningless the latter seems to be under a monopoly, the more omnipotent it becomes. The motives are markedly economic.
We are approaching some kind of nadir with this paragraph. If exchange-value leads to equivalence then all difference is eventually obliterated. Culture and advertising are identical.
One could certainly live without the culture industry, therefore it necessarily creates too much satiation and apathy. In itself, it has few resources itself to correct this. Advertising is its elixir of life. But as its product never fails to reduce to a mere promise the enjoyment which it promises as a commodity, it eventually coincides with publicity, which it needs because it cannot be enjoyed.In a competitive society, advertising performed the social service of informing the buyer about the market; it made choice easier and helped the unknown but more efficient supplier to dispose of his goods. Far from costing time, it saved it.
Today, when the free market is coming to an end, those who control the system are entrenching themselves in it. It strengthens the firm bond between the consumers and the big combines. Only those who can pay the exorbitant rates charged by the advertising agencies, chief of which are the radio networks themselves; that is, only those who are already in a position to do so, or are co-opted by the decision of the banks and industrial capital, can enter the pseudo-market as sellers. The costs of advertising, which finally flow back into the pockets of the combines, make it unnecessary to defeat unwelcome outsiders by laborious competition. They guarantee that power will remain in the same hands – not unlike those economic decisions by which the establishment and running of undertakings is controlled in a totalitarian state. Advertising today is a negative principle, a blocking device: everything that does not bear its stamp is economically suspect. Universal publicity is in no way necessary for people to get to know the kinds of goods – whose supply is restricted anyway. It helps sales only indirectly. For a particular firm, to phase out a current advertising practice constitutes a loss of prestige, and a breach of the discipline imposed by the influential clique on its members. In wartime, goods which are unobtainable are still advertised, merely to keep industrial power in view. Subsidising ideological media is more important than the repetition of the name. Because the system obliges every product to use advertising, it has permeated the idiom – the “style” – of the culture industry. Its victory is so complete that it is no longer evident in the key positions: the huge buildings of the top men, floodlit stone advertisements, are free of advertising; at most they exhibit on the rooftops, in monumental brilliance and without any self-glorification, the firm’s initials. But, in contrast, the nineteenth-century houses, whose architecture still shamefully indicates that they can be used as a consumption commodity and are intended to be lived in, are covered with posters and inscriptions from the ground right up to and beyond the roof: until they become no more than backgrounds for bills and sign-boards. Advertising becomes art and nothing else, just as Goebbels – with foresight – combines them:l’art pour l’art, advertising for its own sake, a pure representation of social power. In the most influential American magazines, Life and Fortune, a quick glance can now scarcely distinguish advertising from editorial picture and text. The latter features an enthusiastic and gratuitous account of the great man (with illustrations of his life and grooming habits) which will bring him new fans, while the advertisement pages use so many factual photographs and details that they represent the ideal of information which the editorial part has only begun to try to achieve.
“Adorno’s diagnosis of the exchange society has three levels: politico-economic, social-psychological, and cultural. Politically and economically he responds to a theory of state capitalism proposed by Friedrich Pollock during the war years. An economist by training who was supposed to contribute a chapter to Dialectic of Enlightenment but never did (Wiggershaus 1994, 313-19), Pollock argued that the state had acquired dominant economic power in Nazi Germany, the Soviet Union, and New Deal America. He called this new constellation of politics and economics “state capitalism.” While acknowledging with Pollock that political and economic power have become more tightly meshed, Adorno does not think this fact changes the fundamentally economic character of capitalist exploitation. Rather, such exploitation has become even more abstract than it was in Marx’s day, and therefore all the more effective and pervasive.”
(For those economistically minded readers, “state capitalism” could be substituted with “corporatism”.)
We might also think of branding as it exists today. The Nike logo, for instance. Or (see bottom of this post) Kim Kardashian’s birthday cake:
The assembly-line character of the culture industry, the synthetic, planned method of turning out its products (factory-like not only in the studio but, more or less, in the compilation of cheap biographies, pseudo-documentary novels, and hit songs) is very suited to advertising: the important individual points, by becoming detachable, interchangeable, and even technically alienated from any connected meaning, lend themselves to ends external to the work. The effect, the trick, the isolated repeatable device, have always been used to exhibit goods for advertising purposes, and today every monster close-up of a star is an advertisement for her name, and every hit song a plug for its tune. Advertising and the culture industry merge technically as well as economically. In both cases the same thing can be seen in innumerable places, and the mechanical repetition of the same culture product has come to be the same as that of the propaganda slogan. In both cases the insistent demand for effectiveness makes technology into psycho-technology, into a procedure for manipulating men. In both cases the standards are the striking yet familiar, the easy yet catchy, the skilful yet simple; the object is to overpower the customer, who is conceived as absent-minded or resistant.
The similarities between propaganda and advertising should be obvious here. Equally important is the notion that any CI product is an advertisement for itself and, indeed, the CI.
By the language he speaks, he makes his own contribution to culture as publicity.The more completely language is lost in the announcement, the more words are debased as substantial vehicles of meaning and become signs devoid of quality; the more purely and transparently words communicate what is intended, the more impenetrable they become.
Absorbing the jargon generated by the mediascape– “way forward,” “you are the weakest link,” whatever– we become conduits for its promotion.
The demythologisation of language, taken as an element of the whole process of enlightenment, is a relapse into magic. Word and essential content were distinct yet inseparable from one another. Concepts like melancholy and history, even life, were recognised in the word, which separated them out and preserved them. Its form simultaneously constituted and reflected them. The absolute separation, which makes the moving accidental and its relation to the object arbitrary, puts an end to the superstitious fusion of word and thing.
Again the basic premise of Dialectic of Enlightenment– that myth is already Enlightenment and Enlightenment retains its mythic character. Adorno seems concerned with the effects of mass culture on language itself. Aattempting to strip language of “metaphysical” properties, to reduce words to the denotative or “literal” aspect, deprives them of significance and even (see below) converts them to verbal amulets.
Anything in a determined literal sequence which goes beyond the correlation to the event is rejected as unclear and as verbal metaphysics. But the result is that the word, which can now be only a sign without any meaning, becomes so fixed to the thing that it is just a petrified formula. This affects language and object alike. Instead of making the object experiential, the purified word treats it as an abstract instance, and everything else (now excluded by the demand for ruthless clarity from expression – itself now banished) fades away in reality. A left-half at football, a black-shirt, a member of the Hitler Youth, and so on, are no more than names. If before its rationalisation the word had given rise to lies as well as to longing, now, after its rationalisation, it is a straitjacket for longing more even than for lies.
By truncating the meaning of language we impinge upon our ability to imagine the world.
The blindness and dumbness of the data to which positivism reduces the world pass over into language itself, which restricts itself to recording those data. Terms themselves become impenetrable; they obtain a striking force, a power of adhesion and repulsion which makes them like their extreme opposite, incantations. They come to be a kind of trick, because the name of the prima donna is cooked up in the studio on a statistical basis, or because a welfare state is anathematised by using taboo terms such as “bureaucrats” or “intellectuals,”or because base practice uses the name of the country as a charm.
In general, the name – to which magic most easily attaches – is undergoing a chemical change: a metamorphosis into capricious, manipulable designations, whose effect is admittedly now calculable, but which for that very reason is just as despotic as that of the archaic name. First names, those archaic remnants, have been brought up to date either by stylisation as advertising trade-marks (film stars’ surnames have become first names), or by collective standardisation.
In comparison, the bourgeois family name which, instead of being a trade-mark, once individualised its bearer by relating him to his own past history, seems antiquated. It arouses a strange embarrassment in Americans. In order to hide the awkward distance between individuals, they call one another “Bob” and “Harry,” as interchangeable team members. This practice reduces relations between human beings to the good fellowship of the sporting community and is a defence against the true kind of relationship.
Signification, which is the only function of a word admitted by semantics, reaches perfection in the sign. Whether folk-songs were rightly or wrongly called upper-class culture in decay, their elements have only acquired their popular form through a long process of repeated transmission. The spread of popular songs, on the other hand, takes place at lightning speed. The American expression “fad,” used for fashions which appear like epidemics – that is, inflamed by highly-concentrated economic forces – designated this phenomenon long before totalitarian advertising bosses enforced the general lines of culture. When the German Fascists decide one day to launch a word – say, “intolerable” – over the loudspeakers the next day the whole nation is saying “intolerable.” By the same pattern, the nations against whom the weight of the German blitzkrieg was thrown took the word into their own jargon. The general repetition of names for measures to be taken by the authorities makes them, so to speak, familiar, just as the brand name on everybody’s lips increased sales in the era of the free market. The blind and rapidly spreading repetition of words with special designations links advertising with the totalitarian watchword. The layer of experience which created the words for their speakers has been removed; in this swift appropriation language acquires the coldness which until now it had only on billboards and in the advertisement columns of newspapers. Innumerable people use words and expressions which they have either ceased to understand or employ only because they trigger off conditioned reflexes; in this sense, words are trade-marks which are finally all the more firmly linked to the things they denote, the less their linguistic sense is grasped. The minister for mass education talks incomprehendingly of “dynamic forces,” and the hit songs unceasingly celebrate “reverie” and “rhapsody,” yet base their popularity precisely on the magic of the unintelligible as creating the thrill of a more exalted life. Other stereotypes, such as memory, are still partly comprehended, but escape from the experience which might allow them content. They appear like enclaves in the spoken language. On the radio of Flesch and Hitler they may be recognised from the affected pronunciation of the announcer when he says to the nation, “Good night, everybody!” or “This is the Hitler Youth,” and even intones “the Fuehrer” in a way imitated by millions. In such cliches the last bond between sedimentary experience and language is severed which still had a reconciling effect in dialect in the nineteenth century. But in the prose of the journalist whose adaptable attitude led to his appointment as an all-German editor, the German words become petrified, alien terms. Every word shows how far it has been debased by the Fascist pseudo-folk community.
In one of his most explicit formulations, Adorno links advertising with fascism. In subsequent revisions of this essay, he would blunt the force of this charge and refer to the CI advertising as “totalitarian.” What is important to remark here is that capitalism has a totalizing function, one implemented by the culture industry. Social life is controlled by the logic and demands of capitalism, though this domination is experienced as freedom.
By now, of course, this kind of language is already universal, totalitarian. All the violence done to words is so vile that one can hardly bear to hear them any longer. The announcer does not need to speak pompously; he would indeed be impossible if his inflection were different from that of his particular audience. But, as against that, the language and gestures of the audience and spectators are coloured more strongly than ever before by the culture industry, even in fine nuances which cannot yet be explained experimentally.
Note the usage of “violence,” which exceeds the notion of physical brutality. Depriving others of the ability to reflect, feel, or think is a form of violence even if the methods to accomplish this are pleasurable.
Today the culture industry has taken over the civilising inheritance of the entrepreneurial and frontier democracy – whose appreciation of intellectual deviations was never very finely attuned. All are free to dance and enjoy themselves, just as they have been free, since the historical neutralisation of religion, to join any of the innumerable sects. But freedom to choose an ideology – since ideology always reflects economic coercion – everywhere proves to be freedom to choose what is always the same. The way in which a girl accepts and keeps the obligatory date, the inflection on the telephone or in the most intimate situation, the choice of words in conversation, and the whole inner life as classified by the now somewhat devalued depth psychology, bear witness to man’s attempt to make himself a proficient apparatus, similar (even in emotions) to the model served up by the culture industry.
The most intimate reactions of human beings have been so thoroughly reified that the idea of anything specific to themselves now persists only as an utterly abstract notion: personality scarcely signifies anything more than shining white teeth and freedom from body odour and emotions. The triumph of advertising in the culture industry is that consumers feel compelled to buy and use its products even though they see through them.
Above: Commodity-personality Kim Kardashian presents her birthday cake. Note the hierarchy of meanings: the generic “happy birthday,” followed by two advertisements (for a nightclub and a cell phone company) and a personalized birthday message.