Difference between revisions of "Culture Industry"
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====== Culture Industry ====== | ====== Culture Industry ====== | ||
| − | A concept introduced by Max Horkheimer and Theodor W. Adorno in the book Dialectic of Enlightenment (1944). It refers to the process of mass production of standardised cultural goods such as films, records, radio and televisions programs which, as a consequence, leads people and society into so-called “intellectual passivity”. High arts on the contrary, by preserving the prerequisites of creativity and freedom of expression as their raison d’etre, represent the antithesis to the Culture Industry. | + | A concept introduced by [[Horkheimer, Max|Max Horkheimer]] and [[Adorno, Theodor|Theodor W. Adorno]] in the book Dialectic of Enlightenment (1944). It refers to the process of mass production of standardised cultural goods such as films, records, radio and televisions programs which, as a consequence, leads people and society into so-called “intellectual passivity”. High arts on the contrary, by preserving the prerequisites of creativity and freedom of expression as their raison d’etre, represent the antithesis to the Culture Industry. |
[[Category:The Cultural Diplomacy Dictionary]] | [[Category:The Cultural Diplomacy Dictionary]] | ||
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| + | == External links and references == | ||
| + | * [http://www.marxists.org/reference/archive/adorno/1944/culture-industry.htm Online text: The Culture Industry: Enlightenment as Mass Deception] | ||
Latest revision as of 09:53, 7 April 2014
Culture Industry[edit]
A concept introduced by Max Horkheimer and Theodor W. Adorno in the book Dialectic of Enlightenment (1944). It refers to the process of mass production of standardised cultural goods such as films, records, radio and televisions programs which, as a consequence, leads people and society into so-called “intellectual passivity”. High arts on the contrary, by preserving the prerequisites of creativity and freedom of expression as their raison d’etre, represent the antithesis to the Culture Industry.
