Saturday, 24 March 2012

Essay


NEW MEDIA ADVERTISING TECHNIQUES AND THE ETHICAL DEBATE SURROUNDING THESE.


The arrival of the Internet as a fresh, interactive, and increasingly predominant means of communication has naturally provided companies with a new platform for advertising and marketing. Obviously, with such an arrival being so free-flowing and rapidly inter-linking, the process of marketing a product to the correct groups of audiences has had to be re-considered. In many cases this has included alternative placements of products, pop-ups, and spam e-mail; and to a greater extent a lot of these methods have proved in some cases to be quite ineffective compared to traditional advertising techniques, and have not generated the expected revenue. However, with the ever-increasing popularity of Social Networking sites as a medium of communication have created unique opportunities to explore ideas and techniques previously unheard of in the advertising world. Of course, with new ideas and techniques come new responsibilities, and whilst the most daring competitors are often rewarded, there are always cases where not enough thought has been given to the potential outcome of these new ideas. This essay investigates a case study from 2007 involving a Facebook advertising scheme; whether this was ethically correct, and whether situations like this call for moral codes to be put in place.


In late 2007, the social-networking giant Facebook introduced Beacon; a service that streamed the news of a friend's recent online purchases onto the user's homepage (partner sites included eBay, Blockbuster and Travelocity). Facebook assured advertisers that its users would be able to 'opt-in' to the service, as opposed to assuming that users would naturally want to take part, and thereby opting them in by default. The truth of the matter, however, was that the user was not alerted to Beacon's intentions of passing information onto 'friends' (taking into account the possibility of virtual relationships, as well as the sort of 'friend' that you have perhaps only met once but are connected online) until a purchase on a partner site had been made and they had returned to their Facebook account. Naturally, the sudden loss of control over the release of information to peers would be disturbing for many, and whilst being quite an extreme example of digital-age advertising, goes a fair distance to demonstrate the radically innovative possibilities provided by the internet.


Of course; on the surface of the situation it becomes easy enough to condemn the transfer of personal information from one website to another as un-ethical and morally wrong, even if it is simply regarding the details of the purchasing of a cinema ticket. However, this popular viewpoint can be readily argued:

“Product placement, spam, 'pop-ups', and similar techniques are ethical tools for advertisers and their clients to use, as long as they are legal and can sell a product.” (Sheehan, 2011, p.412)

Undoubtedly the legality of the situation is somewhat dubious; although it seems fair to hazard a guess that Facebook's terms and conditions put in place in 2007 (which, of course, 99% will never read) were more than likely worded in such a way that allowed them to slip through the net as such, and like many other services are subject to change without any sort of notice. So, assuming that Facebook's terms and conditions were themselves sitting within the confines of digital law, the act of passing details of a purchase from a partner site back to Facebook in order to notify others should technically be a perfectly legitimate thing to do. Although of course to the average user it is most definitely not acceptable, which is where the ethical decision-making comes into play. It is useful at this point to note that what is morally and ethically correct today may perhaps not be acceptable after a certain period of time, and vice versa. For example, it was fairly recently acceptable to smoke inside a restaurant, now it is against the law to do so; and same-sex marriage was once very much off the cards. No doubt if this advertising technique continued to infiltrate itself into everyday social networking, over time it would become far more normalized and acceptable, and whilst ethical codes of conduct are a constantly evolving topic, the goals of advertising rarely differ. As Sheehan (2011) would state, Advertising is part of the grease that keeps the wheels of our economy moving forward. Perhaps, after some time, audiences will become familiar with such an advertising system, much as they once had to come to terms with the adverts placed on television screens or on the radio.


From a far more traditional viewpoint, the system devised by Facebook and Beacon to taylor advertisements based on the purchases of friends was entirely un-ethical; despite being an innovative and creative technique (the system would undoubtedly create psychological links between certain products and a user's friend, which could almost be considered a step forward from linking a product with a celebrity or location). It is possible to argue that to be honest within today's advertising industry would involve steering clear – or being very careful – when using new advertising techniques:

“The 'anything goes' philosophy regarding the use of new advertising techniques is not only unethical but also counterproductive, and will destroy the credibility of the advertising industry.” (Dorsher, 2011, p.422)

It is almost certainly true to say there are certain instances where the use of new advertising techniques is very much counterproductive, particularly to a younger, tech-savvy audience. For example, the forceful nature of a company like Groupon's advertising system almost presents them as a company that should very much be avoided, in the same way door-to-door salesmen are often turned away without any real consideration for the products they might be selling. However; the general public have very much become normalized and accept that salesmen (or even religious types) will occasionally appear on the doorstep in hope of selling a product or service. Perhaps in the long run, when taking into account the situation where Facebook and Beacon are concerned, the ethics and correctness of advertising techniques become in many ways insignificant once the general public is familiarized and in acceptance of the scheme. After all, it appears to usually be the case that ethical debates are a response to what has happened previously, rather than what could potentially happen in the future. Like many of Facebook's software updates, if the company had simply chosen to ignore the uproar caused, there is little doubt that after a certain length of time the Beacon system would have become accepted, and users would begin to forget what the website was like prior to this.


Arguments such as the one presented here continually raise the question of whether 'codes' of ethics are necessary for today's digitally orientated lifestyles, in terms of all aspects of digital communication. Advertising is undoubtedly a huge field to take into account when considering moral codes:

“Codes of Ethics are useful and necessary, both for the news media and in public relations and advertising, because these codes benefit society.” (Gordon, 2011, p.167)

In the digital age that we exist in, it is easy enough to suggest that moral codes are becoming more and more necessary, and if they existed already, need updating and refreshing. Whilst the messages transmitted through advertising media have remained largely the same (buy this product, feel this good, etc.), the ways in which they are presented are being radically updated and renewed; the internet provides the possibility of interactive digital advertising that can readily involve the user, from deciding the outcome of a short film sequence, to making use of contributions from the general public. The changes undergone in communication in the last twenty or so years have perhaps been in some ways too fast for both consumers and advertisers to truly get to grips with, maybe in a similar way to the introduction of print processes and mechanical reproduction. In an age of digital reproduction, it is possible to relay messages, images, video and sound to an audience spread wide across the globe, with essentially unadulterated freedom. With this freedom and speed, any action taken on the Internet reaches its destination immediately with no time for review – users will be instantly taking their turn to use or view whatever has been sent, and will be quick to judge and respond should it not suit their tastes, or should they be offended by the material. If enough users are subjected to the material and enough are upset by its content, news of this uproar carries fast and wide round the planet, causing the proprietor to be heavily scrutinized by the general public. This matches the case of Facebook and Beacon, which rapidly gained a lot of unpopularity among Facebook members, raising the question as to why there was nothing in place to prevent such a system going ahead without much thought about the potential outcomes of passing on private information. Of course, however, the potential of moral/ethical codes raises far too many new questions, such as who should decide on what is good or bad, and how should these codes be applied to various situations. Also ever-present is the possibility of moral/ethical codes failing to protect the public from material that may cause offence or harm, which once again raises even further questions.


Therefore, whilst it is possible to argue a case for the introduction of ethical codes of conduct in the world of New Media Advertising techniques, there are many problems in terms of the ambiguities presented by the nature of the world we live in; no two situations will be the same, no two companies have the same goal, no two advertising agencies have the same concepts of right and wrong:

“Ethics codes are too general to apply to many real situations, too black-and-white, and too idealistic in the cases of public relations and advertising.” (Dorsher, 2011, p.179)

In the case of Facebook and Beacon, there is little doubt to suggest that if one was to produce a set of moral and ethical codes for the advertising system, the codes would indeed by solely exclusive to that particular system. For example, suggesting what is right and wrong with the system, and what is good or bad, would perhaps differ heavily to the principles that govern how a product is advertised on the television. There are arguments for stricter measures with regards to television advertising due to the potential presence of children, but also arguments for stricter online governing due to the potential invasion of personal privacy, even for the details of a minor transaction potentially involving cinema tickets. In any kind of situation involving New Media advertising techniques, perhaps at the present time it is simply not possible to draw up a set of guidelines regarding ethical conduct in the same way that it could be possible to do so with television advertising, it could potentially take years of planning, testing, and experimentation to achieve a level of effective advertising with ethically corrects codes of conduct.


Any situation like this will always be a cause for debate amongst both advertisers and consumers, and of course, like many other situations, can be discussed and argued, but never with any solid, definitive outcome. It is clear that were very aware of the potential effectiveness of being slightly dishonest whilst staying within the confines of the law. Such a situation will always beg the question as to where ethics and the law intersect in the field of advertising, particularly in such an age where it is possible to obtain more and more information about individuals, allowing them to be categorised and targeted far more easily. An example like this raises a perhaps obvious need for clear guidelines and ethical codes when considering New Media Advertising, although this raises an indefinite number of questions regarding who should(/could) help define these rules, and how one action can be better than another. At a time like this, there are few answers to give in a situation such as this, and perhaps the best plan of action would simply be to attempt to make the best judgement prior to marketing a product or service, although this again raises an indefinite number of questions.















Bibliography

A. David Gordon, John Michael Kittross, John C. Merrill, William Babcock, Michael Dorsher, (2011), Controversies In Media Ethics, London and New York, Routledge.

Charles Ess, (2009), Digital Media Ethics, Cambridge, Polity Press

Lucienne Roberts, (2006), Good: An Introduction To Ethics in Graphic Design, Switzerland, AVA Publishing

Paul Hodkinson (2011), Media, Culture and Society: an Introduction, London, SAGE Publications.

Task 5 - The Gaze

‘according to usage and conventions which are at last being questioned but have by no means been overcome - men act and women appear. Men look at women. Women watch themselves being looked at’ (Berger 1972, 45, 47)

































































The image above is named 'Vanity', and is by the artist Hans Memling. This painting is perhaps one of the better representations of Berger's quote - it is obvious that this image is intended primarily for the heterosexual male's viewing pleasure. There is a fair amount more than meets the eye to an image such as this, though. Upon closer inspection, it becomes obvious that the woman is not looking back towards the male viewer, instead she is looking at herself in the mirror. In this sense, it is possible to argue that she is ensuring that she, at that point in time, is happy with herself being gazed upon by a male audience. This in turn seems to establish an asymmetric power relationship between males and females; it suggests that the female is in the unfortunate position of having to watch out for herself to make sure she is desirable to the male audience. Maybe. Invariably, it is quite easy to highlight this kind of thing as being sexist to a certain extent, when going by Berger's statement. The idea of her looking into the mirror suggests that she has willingly allowed the male to gaze upon her, in a slightly submissive way.










































Carrying this idea forward, we can still see the same sort of situations occurring in today's society, particularly with regards to the advertising industry. It portrays an image of a woman that would perhaps seem ideal in many ways to the male audience; it is suggestive that buying the fragrance will obtain a woman similar to the one displayed in the image - one who is willing to reveal herself in explicit ways, allowing the male to have his way with her, as such. This is of course a completely unrealistic situation, as there are not many women who would openly allow a male to gaze upon her on the basis of how he smells. I find it interesting how they have manipulated the image so her eyes are not visible; this only serves to confirm an un-equal power relationship between males and females; it allows males to gaze upon her without any sort of retaliation or defence. Very idealistic. Sex sells, after all, very particularly to males. Her open mouth suggests that she is also very much enjoying the attention received.

Task 4 - Hyperreality



Hyperreality

'Hyperreality is used in semiotics and postmodern philosophy to describe a hypothetical inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced post-modern societies. Hyperreality is a way of characterizing what our consciousness defines as "real" in a world where a multitude of media can radically shape and filter an original event or experience.'



The development of music scenes as hyperreal.

Potentially, it could be possible to describe today's music scenes as being hyperreal, perhaps not so much in terms of the music itself, but more so regarding the following various music can attract, and as a result of this the, situation and context where a particular type of music is played. However, describing today's music as hyperreal can also be very easily argued in the way that music is, in essence, just music. Then again that is exactly what it is to the casual listener, 'just music', and in this form, it may well not be hyperreal. Many would argue however that it extends beyond this, there is far more to it, as music naturally develops a following of a certain category of people, and these people naturally adopt certain trends and ideas that stem from listening to a certain type of music, and the people who make it.

In terms of potentially being hyperreal, it could be argued that 99% of all music is pretty much a copy of something previously made. So essentially all of it is hyperreal, whilst somehow being original at the same time. A confusing one, so it would be better to delve deeper and examine the following scenes attract and the situations that stem from these. To make the hyperreality side of things clear, it is useful to examine certain situations, for example the roots of 'underground' music as such (to the extent that by the time it reaches the majority, it is not underground in the slightest). Perhaps one of the best examples would be dubstep as a genre of music, and what this means to different people. In it's earlier (fairly ambiguous) forms, dubstep was something fresh a new, built around deep basslines and minimal, scattered beats which gave it a lot of room for basslines to come through. Naturally, it was something that with a little help from the internet would travel far and wide and would receive a mixed bag of opinions; those that appreciated it and wanted to do the same would take ideas from one level to the next, pushing sounds forward until it became exposed on a much greater level. Of course, as time goes on, there would become a time when bigger record labels would notice certain areas of potential; in the case of dubstep, which was initially only effective on large soundsystems derived from dub cultures, bigger labels noticed that the a lot of the original sounds could not be heard on laptop speakers or normal computer speakers, so began to take on artists who were pushing a more mid-range sound; sounds that could be heard on laptop speakers.

Larger labels and more commercially successful nightclubs would begin to adopt these newer sounds that could translate easily from laptop speakers to your average club system, and market this as 'dubstep', even though this would cause a large disagreement between those pushing the sound as we know it today, and the sound that existed a few years ago. And so people attending these nights do not experience the real sound as it was originally meant to be, only a wildly mutated version tailored to suit the masses.

In this sense, it is possible to describe music scenes as being hyperreal – Presenting an idea/style of music to the masses under a certain name that meant something very different a number of years ago. The people attending these nights have a very different mindset and style compared to those who went to the 'original' nights (although of course, these nights were all copies of other nights, in their own certain way) – once upon a time 'dubstep' was about large soundsystems, deep, minimal beats and small clubs barely filling half capacity, whereas nowadays it is about something very different.

Task 3 - Essay Proposal

Intended Title:


'New Media Advertising Techniques and the Ethical Debate Surrounding These'


I am intending to study, at the broadest level, how advertising techniques have changed/developed since the introduction of the internet.

Extending out of this, I will be examining how advertising/marketing agencies have had to adapt and develop new strategies.

I will be investigating certain instances where new media advertising has worked well, or quite the opposite. 

I will also be examining ethics in the field of new media advertising; being quite a new area/topic, I feel it could be interesting to look into recent theories and ideas about this, and give my own interpretation. 

Expanding on this, I aim to investigate the roles of ethical codes of conduct within this field, to determine whether it is possible to define these codes or whether they are simply too general to be applied in real-life situations.

Concluding this, I will apply my research into the ethical debate to case studies drawn from new media advertising campaigns to attempt to come up with some logical answers. 


Literature Search:

A. David Gordon, John Michael Kittross, John C. Merrill, William Babcock, Michael Dorsher, (2011), Controversies In Media Ethics, London and New York, Routledge.

Charles Ess, (2009), Digital Media Ethics, Cambridge, Polity Press

Lucienne Roberts, (2006), Good: An Introduction To Ethics in Graphic Design, Switzerland, AVA Publishing

Paul Hodkinson (2011), Media, Culture and Society: an Introduction, London, SAGE Publications.

V. Alia, (2004), Media Ethics and Social Change, Edinburgh, Edinburgh University Press.

Martin Lister, Jon Dovey, Seth Giddings, Iain Grant & Keiran Kelly, (2009), New Media - A Critical Introduction, Abingdon, Routledge

Cultsock.org


I feel that these sources will provide me with a grounding in some important theories built around New Media, which should apply to advertising techniques and the ethics surrounding these. This will hopefully enable to construct a solid essay backed with a good level of research.

Cultsock.org is a website I used to use in school for Communication Studies, a subject I took almost by accident. In this, I studied basic communication theory and looked at some media models, many of which were detailed on this website. As it turns out, a lot of the theories I learnt about appear to apply to many situations not only in New Media, but also in Graphic Design, which I'm quite happy about.



Task 2 - Mechanical Reproduction


The work of art in the age of mechanical reproduction.

Of course this task is a result of my interpretation of what Benjamin has written about, which is perhaps one of the more challenging writers I have come across; though perhaps this just suggests that I need to read more. Either way, I may well have interpreted his ideas in a slightly different way to how he meant them to be interpreted.


---------------------------


'In all the arts there's a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power' (Valery, 1931)

Essentially, rather than solely focus on one piece of graphic design, I have decided to analyse the idea that certain designers make an attempt to reinstate the concept of 'aura' within some of their work, perhaps by creating limited edition numbered prints or hand-bound books. I also see the same process happening elsewhere outside the realm of design, particularly in the area of the music industry that I myself am particularly interested in, whereby vinyl records are released in small runs of 500-1000 copies, or in special cases an even smaller run of white labels will be released; which in some ways enforces the idea of true authenticity.

Benjamin suggests that improvements in technology lead onto shifts in cultural norms of perception:

'During long periods of history, the mode of human sense perception changes with humanity’s entire mode of existence. The manner in which human sense perception is organized, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well.' (Benjamin, 1936)

In the particularly special case of mechanical reproduction, the 'mode of human sense perception' as such experienced a change on a level that far greater than what usually results from an improvement in technology. Occasionally arrives an improvement that has a profound effect on the masses and has irreversible consequences on society. The development of the printed letter allowed many to be educated or educate themselves, and it also allowed those who previously could not access works of art to possess their own copies.

It is potentially possible to credit the entire existence of graphic design as a practice to the emergence of mechanical reproduction. 'Designers' began to employ techniques developed to combine pieces of fine art with typography to promote products, services and the culture industry. This particular act of reproduction in itself is perhaps, as Benjamin might suggest, an absolute diminishment of 'aura'. The image has been re-contextualised in the sense that it is now visible to every man on the street. Not only this, the purpose of the artwork used has altogether changed, causing almost all aspects of authenticity and authority possessed by the original artwork to be diminished.

This in many ways potentially defines the whole situation.

Artwork created for, and possessed by the upper classes is suddenly released into a very public domain. Those previously unable to obtain 'media' (as a fairly generic, all-encompassing way of putting it) are now able to purchase, or receive it.

This is becoming visible once again in today's society, with regards to the age of digital reproduction. The basic structure of change in perception is essentially following the same model, although the effects are tenfold, to say the least. All sorts of levels are added to the equation, whereby it is not simply mechanical reproduction that removes the 'aura'; suddenly it is possible to view a work of art from anywhere at any time, in any situation, without any sort of delay, accompanied by countless anonymous opinions, on many different platforms.

Going back to the first paragraph, it is interesting to see how people react to this free-for-all situation, where media is consistently filtered through cultures and subcultures before just becoming another deadlink in cyberspace. The reactions to this are perhaps pretty obvious – in recent times it is possible to see how hand-crafted (and in some cases, mechanical reproduction in itself...woah..) work has become greatly popular. There is also this notion of creating numbered, limited edition screen-printed posters to reinstate the idea of 'aura', although this may be a subconscious thing in many cases. This reaction can be interpreted in a number of different ways, but perhaps the most logical would be to suggest that the lack of 'aura' in today's situation requires making up for in certain ways, to keep that idea alive as such. Perhaps we have reached a level where it is become a choice for the masses, whether to invest in the 'aura' of a piece of artwork, or settle for a lesser, digital imitation.

Sunday, 18 March 2012

TASK 1 - Panopticism

Choose an example of one aspect of contemporary culture that is, in your opinion, panoptic. Write an explanation of this, in approximately 200-300 words, employing key Foucauldian language, such as 'Docile Bodies' or 'self-regulation, and using not less than 5 quotes from the text 'Panopticism' in Thomas, J. (2000) 'Reading Images', NY, Palgrave McMillan.






Transport System Surveillance.


'This is the utopia of a perfectly governed city...' (Thomas, 2000, p.79)


'Panopticism' is a theory developed by Michel Foucault in his book 'Discipline and Punish', written in 1975. It is quite interesting to draw parallels from this theory towards today's society, as many of his ideas still apply in various situations, and in some cases extend upon these quite wildly. The theory is based on The Panopticon, an architectural plan designed by Jeremy Bentham in the late 18th Century:




File:Panopticon.jpg


The idea behind this development would be to create an institution whereby the inmates/patients/pupils etc would be positioned in their own individual containers circling around a central control post as such. This would be arranged in such a way that would make it impossible for the inmates to view the central control post clearly (most likely due to the lighting used), causing them to make the assumption that they were being watched 100% of the time; regardless of whether anybody was viewing them or not. Combined with the fact that none of the inmates can communicate with (or even view) any of their peers meant that they would become what Foucault would describe as 'Docile Bodies' and undergo a process of self-realignment, and so in other words, 'The plague is met by order' (Thomas, 2000, p.78)(referring to the control of a town/village during the times of the plague, perhaps the first incidence of this system taking place). 


It is interesting to draw parallels to systems employed in today's society. Perhaps the most obvious comparison to make would be that of surveillance techniques used on metropolitan transport systems - the London Underground springs to mind almost immediately. As a semi-regular user, one of the most noticeable aspects of the system is the sheer concentration of CCTV cameras dotted around the place, combined with constant security announcements warning travellers to keep an eye on their belongings at all times. Foucault states, 'This surveillance is based on a model of permanent registration...' (Thomas, 2000, p.77), which in some ways has never been more true as when applied to this situation.  The presence of large number of cameras implies a constant monitoring over the areas governed by those in charge of operating the system. Whether the entire area is in reality constantly monitored of course remains questionable, although in many ways this is not important - as long as the cameras are there, it would be safe to assume that travellers are being at all times being watched. When considering this it becomes easy to compare this to the Panoptic model discussed earlier; travellers assume they are being watched the whole time in the same way as prisoners would in the Panopticon. As a result of this, passengers (the majority of) would naturally begin behaving in such a way that they believe is correct and fashionable. Whilst on the one hand, it is true to say that this undoubtedly prevents many crimes on the Underground, it also renders the majority in a docile state, which may explain the complete lack of communication between passengers. This is in some ways the 'political dream of the plague' (Thomas, 2000, p.78), whereby passengers, whilst being in close proximity to each other are also simultaneously strictly divided. 


Foucault also states that 'rulers dreamt of the state of plague' (Thomas, 2000, p.79), which demonstrates to a certain length how this method of panoptic surveillance suits a transport system such as the Underground very well. Alongside the docility achieved by CCTV, it is also incredibly economically viable, and its relative invisibility means it is met with very little resistance.



Wednesday, 14 March 2012

LECTURE 8 - Jean Baudrillard and PostModernism

Hyperreality Theory - 1960's.

- Production Growth
- Industries
- Marketing and Communism.

Bladerunner film = idea of simulacra.

or...The Matrix - what is real? Reality portrayed as a blank canvas to allow construction.

Baudrillard - early writings grounded in Marxism --- Labour - shaping the environment through industry.


UNIVERSAL CONDITION OF HUMAN EXPERIENCE.

Products can have a 'use' value and an 'exchange' value.
Money abstracts 'use' values; relation to world is indirect.

therefore Directly engaging/transforming with the world around you becomes impossible under capitalism, says Marx.

Capitalism: a man's work becomes an object. Exchange of labour for production disconnects labourer from the products.

Henry Ford - FORDISM . the world's first automated production line - 1913. A worker simply contributes one element to the production of each vehicle:





This efficient production line becomes the standard for post-war manufacturing.

= Manufacturing boom.

John Berger - publicity as a system proposes we alter ourselves and our lives by making purchases.

LECTURE 7 - Identity





Friday, 2 March 2012

LECTURE 4 - Critical positions on the media and popular culture

AIMS

Critically define ;popular culture'
Contrast ideas of 'culture' with 'popular culture' and 'mass culture'
introduce cultural studies and critical theory
discuss culture as ideology
interrogate the social function of popular culture

WHAT IS CULTURE

- 'one of the two or three most complicated words in the english language'
- a general process of intellectual, spiritual and aesthetic development of a particular society, at a particular time
- a particular way of life
- works of intellectual and especially artistic significance.


INSERT MARX'S CONCEPT SLIDE

Culture can be the sight of political conflict

4 definitions of 'popular' (Raymond Williams 1983)

- well liked by many people
- inferior kinds of work
-work deliberately setting out to win favour with the people - anything that aims to be populist, and aims to be understood by everyone. Suggests that work that is for the people is somehow flawed in certain ways. Very elitist statement.
- culture actually made by the people themselves, for eg brass bands made by mining communities - by the people and for the people. A much less elitist statement. 

A lesser form of real/high culture. Works that aspire to be important but fail. 

This kind of thing relies on someone to make a Value Judgement. 

INSERT CASPAR SLIDE

left = high culture, right =popular culture. 

INFERIOR OR RESIDUAL CULTURE

popular press vs. quality press
popular cinema vs. art cinema
popular entertainment vs art culture

who are these aimed at? what content do they contain?

The latter is always aimed at speaking to the elite stratas of society, the former is always concerned with speaking to the masses. 

INSERT JEREMY DELLER SLIDE

examples which would fall outside of traditional ideas of pop/high culture

look like poor attempts at art...why could we all do better, and why are we making these judgementsts? 

we are coded into a certain way of judging what is correct and what is not. where do these institutionalised ideas come from.... 

Look into Belfast political murals. Inexperienced paintings by self-taught ex-cons. Lack in ability, but there is still no reason to laugh. etc...look into this

INSER GRAFF SLIDE

what happens when one subculture translates into a westernised culture??

eg south bronx graff and banksy in cov garden.

a popular culture can begin as representing people, and become incorporated to involve the interests of a very few.

INSERT BOURGEOIS SLIDE

change in culture at the time of industrialization and urbanization

for the first time people are condensed physically, but also physically separated. In factories as a mass, but clearly separated for the owners of the factories (bourgeoisie). A physical separation between classes.

This physical separation begins to create a cultural separation. the working class begins to offer up their own culture. eg. going to the pub, singing their own songs etc. The emergence of an organic working class culture. At this time, the only people in charge of what was culturally correct were the ruling class, and the working class were not considered eligible to vote etc. 

INSERT MATTHEW ARNOLD SLIDE


probably the first to write about culture in itself. The book is about 'Arnoldism'. He wants to define what culture is: the most important things that humanity has achieved - attained through disinterested reading, writing and thinking - any culture that has an agenda is not truly a culture. 

Culture can 'Minister the Diseased Spirit of our Time'

INSERT SECOND MATTHEW ARNOLD SLIDE

The ruling class becomes threatened by an emerging working class culture. 

Today there are still attempts to defend high culture and mock working class culture.

LEAVISISM. still forms a kind of repressed, common sense attitude to popular culture in this country. For Leavis, there was a certain time when culture was perfect. Everyone was agreed, and everyone could do what they wanted. However he says that the 20th century brought a decline and dumbing down in popular culture though.

He says there is still an elite. 

ORIENT EXPRESS SLIDE

suggests high culture is empowering and uplifiting whilst popular culture is addictive and distracting.

a form of snobbery that is still visible today - the way people dismiss programmes such as big brother is in some ways a hangover from this Leavisism.

However both cultural forms are equally biased and both have an agenda. 

FRANKFURT SLIDE

Marxist thinkers - shut down by Nazi's. Relocated to NYC for a bit.

Studied pop culture, mass culture..wrote a lot of stuff on radio/tv. Once moved to america they entered what was potentially the most developed society on the planet at the time, far more so than Germany. 

FRANKFURT SLIDE 2

FORDISM - stems from the economical systems that Ford had put in place. Mass production on a production line, who can generate numerous identical cultural artifacts. 

i.e Mass Produced Culture. 

people begin to expect the same things from different films. eg in a horror film, it is predictable who will die first. In a romantic comedy, the guy will inevitable end up with the girl. We begin to want those happenings, however. 

i.e all mass culture is identical, all art is gone and replaced by mass produced rubbish

HERBERT MARCUSE SLIDE

capacity for multi dimensional thought is reduced. 

eg we lose the idea of Che Guevara as a revolutionary. 

the peculiarity of the culture industry is that it basically does the thinking for you. less independence and free thought. SOCIAL CEMENT.

In dreaming about something you end up doing nothing about it. 

AUTHENTIC CULTURE