Culture Industry

In the years after World War II, American Pentecostal discourse revolved around a separation narrative. The authors of the narrative asserted that Pentecostalism’s success depended on the ability of the movement to remain separate from American popular culture, which was overwhelmingly shaped by mass consumption and mass media. Promoters of the narrative believed that Pentecostals were becoming too assimilated into mainstream American life with the result being a loss of Pentecostal distinctiveness and desensitization to cultural immorality. This thesis will argue that the separation narrative functioned as an idealized version of Pentecostal history, a rationalization of economic changes affecting Pentecostals, and a critique of postwar popular culture.

The following is a draft excerpt from my forthcoming book, Eco-Nihilism: The Philosophical Geopolitics of the Climate Change Apocalypse. It concerns the the commodification of nonhuman animals, particularly endangered species.

Climate change makes of us all potentially endangered species, human and nonhuman. Some are “more immediately endangered” and some “less,” but no desirable future, at least as I’ve argued here, can be reconciled with homo Colossus’ quantifying and commodifying valuation of species and ecosystems.  It’s not just that climate instability makes a mockery of the concept “endangered species.” It’s that the way we assess the value of a species in terms of whether there are enough of them such that we’re “safe” in treating them as disposable eviscerates the world itself as a locus of experience worth wanting. In the pathology of conquest capital, an endangered species is simply a special kind of pricey commodity—like diamonds or honest politicians.

For the conquest capitalist, the meaning of “endangered” can only be calculated as price; the cost to salvage, the savings to let go to extinction. Endangered, moreover, signals “something important” only if it’s something in demand; hence the value of gorillas is a function of advertising, their beneficiaries the advertisers.

Kampung Inggris merupakan sebuah kampung di mana kursus-kursus informal atas Bahasa Inggris menjamur. Ada beberapa kursus bahasa asing lainnya, namun hanya satu dua, yang kalah pamor dengan ratusan lembaga yang menawarkan program Bahasa Inggris. Kampung ini terletak di desa Tulungrejo dan Palem di sebuah kota kecil bernama Pare 1 yang termasuk dalam kawasan Kabupaten Kediri, Jawa Timur. Ribuan orang dari berbagai penjuru negeri datang dan pergi ke dan dari kampung ini di setiap tahunnya.

The paper investigates the people who organize live music concerts: promoters. In contrast to recent contributions analysing the production of music, I argue that the work done by promoters must be analysed separately from the co-production of live music. Drawing on interviews with promoters in the UK, I show how promoters invest aesthetic values into their live music products to attract “like-minded” people and “engineer great moments” for audiences. I also show that promoters do more than create spaces for aesthetic experiences. Much of their work involves accounting for their audience's aesthetic consumption. I argue, then, that we must recognize that cultural producers both invest aesthetic values into their products and use their everyday interactions with consumers to evaluate the extent to which their products have released those aesthetic values.

For many of us, we have always known and loved the world of Walt Disney. We grew up with these characters, these stories, and these songs. But how often do we ever think deeply about Disney, even discuss and analyze it at length? Studying Disney offers us a rare opportunity to consider childhood, the media industry, and American culture simultaneously. In this course, students will examine representations of race, gender, sexuality, class, and ability on screen and behind the scenes at Disney. We will also explore the wide expanse of Disney’s properties, from movies to TV to theme parks and theater. Students will also gain experience with conducting research, studying primary documents and contributing to public history. In the end, students will have a richer understanding of Disney not only as a company, but as a cultural institution.

이 글은 2000년대 초반부터 본격적으로 등장했던 웹툰산업의 성장 과정을 웹 툰산업의 플랫폼화로 특징짓고 살펴보고자 하는 논문이다. 오늘날 문화산업 분 야에서 디지털 기술의 지배적 영향력은 전혀 새로운 소식이 아니다. 디지털 기 술의 컨버전스화를 배경으로 만화에 대한 재매개로서 등장했던 웹툰산업도 예 외가 아니다. 더욱이 웹툰플랫폼을 빼고 오늘날 한국 콘텐츠산업에서 가장 주목 받는 문화산업 분야의 하나로 자리 잡은 웹툰산업에 대해 이야기하기는 거의 불 가능하다. 웹툰산업에 대한 기존의 접근 방식들에서는 디지털기술의 발전에 따 른 웹툰콘텐츠의 서사구조 및 콘텐츠 마케팅 등의 시각에서 조망하는 논의들이 주로 제시되었지만 웹툰산업의 플랫폼화와 그 대가와 결과들에 대한 보다 포괄 적이고 통합적인 접근과 분석은 드물었다. 이 글은 웹툰플랫폼을 중심으로 한 웹툰산업의 변화를 경제적 측면(시장구조), 정치(권력관계)적 측면, 그리고 인프 라스트럭처(웹툰산업 생태계)의 측면에서 살펴보고자 한다. 오늘날의 웹툰산업 의 변화는 단지 기술적 차원을 넘어서 보다 웹툰산업의 시장 구조, 시장행위자들 간의 권력관계 그리고 웹툰의 소비, 생산, 유통 전반에서의 근본적 변화를 포 괄할수있는통합적방식으로다루어질필요가있기때문이다. 이를통해서한 국 콘텐츠산업에서 오리지널 스토리의 제공자로서 높은 비중을 차지하면서 주 목받고 있는 웹툰산업에서의 플랫폼화로 인한 변화 및 그 변화의 경제적, 정치 적 그리고 사회문화적 의미에 대하여 논의할 것이다.

Child labor engaged in the digital culture industry is still missed from the handling of government and child institutions. There are forms of exploitation and violation of rights that occur when the child works. This study aims to see, describe, and analyze how forms of child exploitation, violations of children's rights committed by companies, public discourse on child artists, as well as the responses of proparents in terms of approving children to be in the world of digital culture industry. This research uses descriptive research methods with library studies. The data used in this study is secondary data taken from various internet sources, previous journals, or relevant books. The study used theory strains of Robert K Merton and child researchers to analyze the strains and adaptation processes performed by children. The results of this study show that there are forms of child exploitation, especially in terms of education, play opportunities, mental condition, self-development and physical child. These processes occur in an environment that is not child-friendly and difficult to handle by the relevant institutions.

A Revolution in Rhyme: Poetic Co-option under the Islamic Republic tells the story of the lives and works of Iranian poets whose personal and literary career were shaped by the Iranian revolution in 1979. By drawing on similar examples, such as Soviet Russia, the book tries to tackle some key questions: how did these poets come to be known in the literary scene? What did they write about, and what were their ideas, styles, and literary techniques? And, last but not least, what kind of relationship have they established with the ruling power on the course of the past four decades? In a detailed study, Shams tackles the life and work of ten Iranian poets whose personal and literary lives transformed and were transformed by the 1979 Revolution and the rise of the Islamic Republic, shedding light on ways in which the current ruling state in Iran uses literature and particularly poetry as a tool for ideological dissemination.

c RT ' TH All Wl~ 4 P 0 P III DAS ENDE DER KUNST ALS POLITIK-ERSATZ Tatsächlich glaubt jede Generation dass es früher i~gendwie einmal "besse;" war. ~nde:d, every generation believes that it Der Popdiskurs macht da keine Ausbas better zn the old days. Popdiscourse nahme. Im Rückblick auf Bands wie is not an exception. Looking back at bands Scritti ~olitti,. Heaven 17 oder Gang of like Scritti Politti, Heaven 17 or Gang Fou.r, d1e ZWISChen Postpunk, Antifaof Four, who had the time to take main-SChiS~US, Synt~iepop, Ideologiekritik, stream hzt par~des and record shelves by Anton10 Gramsc1, Jacques Derrida, New stann whzle domg post-punk, antifascism, Wave und Linksradikalismus noch Zeit synthpop, critique ojideology, Gramsci, fanden, die Hitparaden und Plattenre-Derrida, New Waue, and leftwing radicalgale des Mainstreams zu stürmen stellt ism, we must raise the issue ofcontemposich die Frage nach heutigen Modellen rary models of dissidence in pop. In the age vo~ Dissidenz im Pop. Lässt sich im ofc~sting shows and bushido, can we still Zeltalter von Castingshows und Bushiposzt a pop -cultural intersection of critique do ü~erhaupt noch eine popkulturelle and hedonism, radical chic and glamour?

This article proposes the idea of a "hardboiled literary history" through readings three novels of the culture industry published in the 1940s: Raymond Chandler's The Little Sister (1949), Fredrick Wakeman's The Hucksters (1946), an Budd Schulberg's What Makes Sammy Run (1941). These novels made visible the intellectual labor of producing the cultural commodities upon which the industry subsisted, while at the same time struggling to identify and preserve regions of culture as yet unsullied by the market. They achieved this double effect by materializing in their fictions the abstract components of creative intellectual labor, rendering them intelligible as part of a larger economy at midcentury. I argue that, by tracing historical shifts in the way cultural work and cultural commodities were conceived in the United States in this period, we might arrive at a new understanding of an old literary-historical term, hardboiled. Loosened from its constricting generic frame, with the associated conventions of mystery plot and economical vernacular language, hardboiled at midcentury can be understood more capaciously, and indeed productively, as naming a certain disposition towards the commodification of culture, and a particular style of undertaking cultural work.

“Adorno Kab Utsahakam-Wattanadham: Koranee-Suksa Pleng Samai- Niyom” [Adorno and his idea of Culture Industry: The Case Study of Popular Music], in Thirawuth Senakham, editor. Leow-Nair Lair-Lang Wattanadham- Pop [Looking back to the future of Popular Culture Studies]. Bangkok: Princess Maha Jakkri Sirindhorn Anthropology Center. (written in Thai)

Cancer has long been a cultural touchstone: a metaphor of devastation and a spectre of social as well as bodily anomie and loss. Yet recent years have witnessed significant transformations in perceptions of cancer, particularly in perceptions of the cancer patient. This paper is concerned with the ‘struggles of subjectivity’ emergent in this transvalued cancer culture. Explored from the standpoint of the ‘bad patient’, and drawing on media and cultural methodologies, the paper will consider the convergence of medicine, morality and popular iconography as they are embedded in the imageries, imaginaries and representational economies of the cancer culture industry. Of particular concern in this context are the (re)composures of the patient, as liminal figure, caught between clinical imperative and cultural fantasy.

A decade ago, in 2007, it was an important year in the realm of celebrity studies, Britney Spears had a meltdown and shaved her head, Lindsey Lohan checked into rehab and in February, Ray J “leaked” a sex tape exposing little-known Kim Kardashian. Kim Kardashian West is a fascinating case of celebrity because she helped build a media empire and a powerful brand at a crucial time, when reality TV was at its prime and when social media brought the idea of celebrity further into the mainstream of everyday culture. Kim’s celebrity persona is, therefore, an important artifact into understanding the matrix of celebrification (Grindstaff) and the fame cycle (Deller). The following essay will then consist of a handful of components charged with situating Kim Kardashian West within the field of popular and everyday culture. Kim Kardashian West’s Selfish is the most compelling artifact in understanding the new celebrity fame cycle and the social construction of the celebrity persona. To support this claim, I will briefly overview the state of celebrity studies and the fame cycle in hopes of showcasing the dynamics that are currently at play (Choi). The discussion will then lead to a substantive framing of the Reality TV genre as the catapult to Kim’s celebrity persona (Lueck). Subsequently, a discussion on the photographic image (Jerslev) will then be undertaken to explain its importance within the essence, creation, and propagation of the celebrity persona (Heinich). Only when all moving components of this essay are anchored together can we examine Selfish as an important contribution to the understanding of celebrity, the fame cycle and the personal brand through the analysis of the selfie. To understand the fame cycle vis-à-vis Kim Kardashian West’s cultivated celebrity persona, I will be looking at the 2006, 2011 and 2015 chapters of the second edition of Selfish. The specificity in the analysis of this academic essay will provide the field with an additional useful roadmap on alternative, yet analytical ways of contributing to celebrity studies by advancing ethnographic studies on one of Hollywood’s most dynamic personas, Kim Kardashian West.

A survey of the cultural landscape of David Robert Mitchell’s film "Under the Silver Lake," and a critique of neoliberal culture, that proposes the film depicts a cultural hegemony that demonstrates the industrialization of the culture industry at the end of capital. I argue that this cultural industrialization proliferates in late capitalism through infestations of nostalgia and with what Adorno and Horkheimer refer to as the “administered world of late modernity,” or, what today we might refer to as post-postmodern. In the context of Mitchell’s film, movie culture, iconography, and especially pop music and its’ particular histories are an integral part of the semiotics with which the characters live their lives, and how the nostalgia for these artifacts dictates their lives. In this world, culture is currency.

Due to its worldwide influence, binge-watching has become one of the important research topics for philosophy and social sciences such as sociology, psychology, and media studies. Although noticable articles and books have been written about binge-watching, more studies seem needed when considering its influence on individuals. This article depends on such a requirement and aims to examine the binge-watching experience on Netflix. For this purpose, the article is divided into three main parts. After explaining the concept of binge-watching in the first part, the binge model and the binge culture are elucidated according to the Netflix environment. Then, the binge is discussed in the second part as an important piece of contemporary industrial culture. Here, the motivations behind binge-watching and how the attention of the viewer is maintained through the abuse of suspense are explained. Moreover, the temporal structure and misdirections in the narrative are examined as the characteristics of the cultural commodity suitable for bingeing. As to the third part, The Stranger (2020) series of Netflix is analysed in detail as an example. An evaluation regarding these three parts is given in the conclusion to sum up how binge-watching is experienced in the Netflix environment.

This chapter examines recent proposals to use the blockchain, the underlying database that records and verifies Bitcoin transactions, as a mechanism to secure, authenticate and commodify digital culture. While these proposals are still in the very early stages, I analyze patents and some fledgling companies to identify the key business propositions put forward and ask whether the blockchain will lead to stronger or weaker property rights for digital culture and in turn what this means for the future of cultural production.

Kitle iletişim araçları kitle kültürünün oluşumunu
sağlama noktasında devletin ve kapitalist sistemin en
güçlü araçları arasında gelmektedir. Adorno ve Frankfurt
Okulu medyanın kültürü ve sanatı kitleselleşerek standartlaştırıldığına
ve bunu da kültür endüstrileri yaratarak
gerçekleştirdiğine dikkat çekiyor. Bu bağlamda özellikle
kitle iletişim araçları teknolojilerinin gelişmesi egemen
kültürün iletişim araçları aracılığıyla kitlelere dayatılmasını
ve eğlence yoluyla izleyicilerin bu çerçeve içerisinde kalmasını
sağlıyor. Televizyonun yüz milyonlarca izleyicinin
evine ulaşması onu kültür endüstrisine hizmet eden temel
aygıtlardan biri haline getirdi. Televizyonun bu devrimsel
özelliğini internet takip etti. Kitle iletişim araçları içerisinde
internet, standart bilgisayar kullanıcısına kendi içeriğini üretir
hale getirmesi sebebiyle dijital bir kimlik kazandırmış ve
bu sebeple kitlesel düzeyde büyük bir etki alanına sahip
olmuştur. İnternet sadece haberleri ayağımıza getirmedi.
Aynı zamanda kültür ve edebiyat eserlerini de yüz binlerce
hatta milyonlarca izleyiciyle buluşturarak popüler kültürün
ürünleri haline getirdi. Bu çalışmada özellikle internette
kullanıcıların ürettikleri içerikler aracılığıyla yeni kültür
endüstrileri yayma süreçlerinin üzerinde durulmuştur.
Özellikle Oğuz Atay’ın romanlarından yapılan alıntılarla
ortaya çıkan hayran sayfaları örnek verilerek bağımsız
edebiyat ürünlerinin nasıl bir kültür endüstrisi metasına
dönüştürüldükleri konusu incelenmiştir.

Today, the concept of sports is associated with commercialized and industrialized elite sports instead of the activities that are required to sustain healthy lives. Sport is the first area in which capitalism can deepen its hold on society and renew it. This conceptual study examines how Marxist critical theorists, led by Frankfurt school of thought and French structuralism, address sports. According to critical theorists; culture industry products such as cinema, television and music entertain and divert the masses from thinking about the realities of life. Today's culture industry which is based on commodification serves to spread a shallow culture instead of a culture with depth. Sports, transmitted to the masses via the media, are now a part of this shallow culture. According to culture industry, first conceptualized by the representatives of the Frankfurt school of thought Adorno and Horkheimer, masses have become the objects that are shaped by the culture instead of subjects that establish it. When considered as a part of the culture industry, sports are one of the mass entertainment and diversion tools that define the lifestyle of individuals. According to critical thinkers, sports such as football-the focus of interest for the masses-is a field in which injustice in income distribution is legitimized. Article Info

Astrology has been defined in various ways throughout history, starting with the definition of knowledge that appears in Plato's Theaetetus dialogue in which knowledge is considered to be a "justified true belief". If knowledge can only emerge when all three conditions of belief, justification, and truth are met simultaneously then astrology can only be more belief than knowledge, or opinion or presumption. In that case, we can define astrology as "belief in the falsehood". The reason for the popularity of astrology does not seem to originate from science and knowledge, which makes it false in Plato's opinion. The person who chooses to believe in astrology, which somehow claims to explain the unknown, does so because astrology represents a product that offers security and hope for such person. This quality has meaning for the consumer society of the 21 st century: astrology is a product of desire that markets the experience of the future. The unknown has always been interesting, for both ancient and contemporary societies. One can say that making the unknown known is equivalent to the individual of our age reassuring and motivating self in the pursuit of life. While the statement highlights astrology as an element of marketing, it does not seem possible to talk about a general definition of astrology, which is widely accepted. It is probably not easy to seek an answer to the question what is astrology within numerous intertwined relationships of astrology with, for example, religion, science, astronomy, or psychology. Our compass in navigating through this labyrinth would be the history of astrology.

Be it Bollywood or Hollywood, all their catching tune concentrates on the ‘sexy lady on the floor’. Her ‘Baby Doll’ like figure and burning passion like ‘Shila’ and ‘anaconda’ like bum make them the centre of attraction and the very indispensable element to make the album or movie a super hit. It shows that it is the utmost priority of a woman to be in the frame of ’36-28-26’ with ‘smoking’ eyes, ‘juicy’ lips and fairest face to cater the people. Her flawless figure is like the piece of cutlet to be enjoyed by the alcoholic perversion of the male’s desire. This venomous fang of culture industry thus cements on the age old construction with new curse. Consequently the cassettes of item songs become hot cake or Fifty Shades of Grey becomes best seller. Thus women in practical life become the victim of that representation as they appear with the tag ‘available’ and an easy prey. It is not that the women are innocent all the time but this number does not represent all. These very available mediums easily catch people’s attention to sell their product in the name of culture and inject the poison of perverseness resulting in eve teasing, molestation, rape or acid attacks. But tuning with the business of culture industry it is the woman who is held responsible for her own misfortune by the society as she discards her role of being the guardian of morality by wearing short dress or tried to enjoy life like a ‘man’. This paper will illuminate the nuances of these cheap representation while reflecting Adorno’s Concept of Culture industry to expose how a woman’s body can be sold very well as a product in the market of culture added with ‘spicy’ lyrics and how it make us stop analysing the pros or cons of it to dance with the tune merrily, “mein toh tanduri murgi hu yaar, gatkale saiya alcohol se” when we all clamour for equal respect, honour, love and affection.
Keywords- spicy lyric, culture Industry, item song, sex object, representation, molestation

Operating within a television landscape that is characterized by the increasing competition between different media formats, American prime-time dramas of the last 15 years have relied strongly on complex strategies of serialized story-telling in order to ensure viewers' sustained and ongoing investment in their narratives. Assessing this shift away from earlier norms of episodic closure, media scholar Jason Mittell has labeled the last two decades of American television an era of "narrative complexity" (cf. 29). Narratively complex shows, he argues, capitalize on the possibilities of the serial format and emphasize continuous, serial narration over episodically contained plots; over time, these shows therefore tend to amass complicated webs of backstories and character relationships and thus ask their audiences to engage in, as he puts it, "an active and attentive process of comprehension" (Mittell, 32). Today, I would like to focus on a particular subset of narratively complex shows, namely those that present their over-arching story-lines as an investigation into a central mystery, and that develop this motif as a framing narrative over the course of several seasons, if not the entirety of their runs. Shows like Lost, 24, Rubicon, Homeland, or Fringe all similarly rely on series-spanning story-lines about far-flung intrigues and enticing mysteries. By doing so, these shows adapt the formula that turned earlier series like The X-Files or Twin Peaks into fan-favorites: As Jeffrey Sconce puts it, the ongoing story-lines of these shows "cultivate a central narrative enigma" (107) -like the alien invasion slash government cover-up on The X-Files or the murder of Laura Palmer on Twin Peaks, the mysterious events of Lost's island, or the uncertain loyalties and motivations Homeland's prisoner-of-war-cumterrorist Brody -and use it as a central narrative hook to transform casual viewers into committed loyals. Due to their focus on long-running storylines, these shows exhibit a tendency to become more and more complex over time; despite (or maybe because of) this increasing complexity, many of the shows that follow this model of storytelling have become critical and commercial successes.

Bollywood, or the Hindi Film industry, embraces a truly enigmatic world of its own. The craze and euphoria surrounding it, not only in India but also in foreign lands, is something worth witnessing. One of the major attractions of Bollywood, which in fact distinguishes it from Hollywood, is its elaborate song-dance sequences which never fail to strike a chord with the audience. Its creation of sublime, emotional or foot-tapping escapism is simply unmatched anywhere in the world. A fact often overlooked is that, these songs and dances are intricately woven in our social fabric. It is interesting to take note of this and undertake an analysis of the same. In this article, I shall discuss about Bollywood, how the dances and songs are placed within movies, analyse the dance types, its forms in the context of social forces operating within it-'globalization' and 'glocalization' and provide a sociological understanding of it and its changing form. Since it is not possible to discuss the entire array of dance in Bollywood, I have analysed the dances post the globalization era and after the onslaught of MTV in 1980s. I have focused mainly on those dance sequences which have won the Filmfare Awards 1 , between year 1994 to 2013.

Challenging ideas about class, debt, and labor as set forth by such arts and culture writers as Dave Beech, Ben Davis, Coco Fusco, Kerstin Stakemeier, Marina Vishmidt and Hans Abbing among others, this essay proposes that "there are exactly as many artists as the system requires for reproducing itself." It was written for the book Delirium and Resistance: Activist Art and the Crisis of Capitalism (Pluto Press 2017).

Elinizdeki çalışma, Theodor Adorno’nun eleştirel yaklaşımı ışığında bir yandan kültür endüstrisini açımlamaya ve sorgulamaya çalışırken, diğer yandan okuru beğenilerimizi tartışmaya çağırıyor. Kültür endüstrisinin kıskacında yaratılan kültürün, bireyin özgün beğenilerini yansıtamayacağını savunarak, bir başka seçeneğin mümkün olduğu sonucuna da varıyor.

Günümüzde kültür endüstrisinin internet ve dijital oyunlar aracılığıyla kazandığı etki ve yaygınlaşma, dahası endüstriyel kültürün tüketicilerinin aynı zamanda üreticileri haline gelmeleri Adorno tarafından tahayyül bile edilemezdi. Elbette, bunlar televizyonun ulaştığı nokta gibi Adorno’nun düşüncelerini doğrulamakta ama aynı zamanda çizdikleri sınırları zorlamaktadırlar. Bundan dolayı, Adorno’nun felsefesinin bahsedilen değişimler ve yeni formlar bakımından tekrar değerlendirilmesi son derece elzemdir.

Önder Kulak’ın çalışması, kültür endüstrisi fenomenine dair Adorno’nun eleştirileri üzerine bir rehber kitap olma niteliği taşıyor.

Update: If you'd like to watch an accurate, funny, and brief take on Eco-Nihilism, please go to #wisecrack on Youtube: Did South Park Turn Anti-Capitalist, where the central argument from Eco-Nihilism is quoted at several junctures:

https://www.youtube.com/watch?v=2_MglOKUFRg.

I may not have made South Park directly--but Wisecrack--close enough!!

Wendy Lynne Lee

This is the preface for Eco-Nihilism: The Philosophical Geopolitics of the Climate Change Apocalypse.

Lexington Books (Rowman and Littlefield), February 2017.

https://rowman.com/ISBN/9780739176887/Eco-Nihilism-The-Philosophical-Geopolitics-of-the-Climate-Change-Apocalypse.

Cormac McCarthy’s 2006 novel, The Road,  tells the story of a dying father’s heroic effort to protect his child from starvation, violence, and disease as they struggle to cross the devastated landscape of a post-apocalyptic America. We don’t know what’s happened to bring about so tragic and terrorizing a circumstance, but we’re nonetheless drawn to the stark images McCarthy evokes and, though we work feverishly to deny that such a tragedy could befall us, we can imagine it.

Indeed, for Syrian refugees, Niger Delta villagers, Northwest Kenyan pastoralists, Chukchi Sea coastal fishermen, Ecuadorian rainforest dwellers, Mexican fishermen, Pennsylvania farmers, indigenous Sengwer, the citizens of Kiribati Island’s thirty-two atolls, and many more, fables like The Road reek of a reality already poisoned nearly beyond repair and foreshadow future crises—environmental, economic, geopolitical, social, and moral—for which the prospect of recovery seems little more than fiction.

Such crises are as predictable as are the implications of an economic system, namely, neoliberal or conquest capitalism, whose objectives and governing logic are, I’ll argue, inherently incompatible not only with the just, the good, or the beautiful—but with life itself. Conquest capital devours and digests values, ethical, civic, and aesthetic, reducing each to that single value without which it can neither replicate itself nor grow: exchange. In so doing it generates a state of affairs that can only rightly be described as pathologically nihilistic: capitalism destroys its own existential conditions through the wholesale commodification of the finite ecosystems upon which it depends. It cannot do otherwise and be capitalism. Hence, to continue down this road guarantees a future disfigured by the violence consequent on abject desperation and subjugation not only to domination by multinational corporations, but ultimately to more prosaic though terrorizing prospects—like thirst.

Amidst the deindustrialization and global economic crises of recent decades, cultural and creative industries from advertising to the arts have been hailed as the new motor of sustainable economic growth and cultural labor has been lauded as the latest frontier of meaningful, inclusive work by various national and international agencies like the European Union, UNESCO, and the governments of Britain and Australia. Such futuristic celebration was accompanied by a heightened academic attention to cultural work and workers, amounting to “a turn to cultural work” (p.1). This edited collection contributes to and intervenes in this turn with a special emphasis on historicity.

This article utilises the new reading of Marx found in the work of Michael Heinrich to analyse the creative industries. It considers the role played in the production of value by the labour that takes place in the sphere of circulation. The specific focus is on creative industries such as graphic design, advertising, and branding. It applies Heinrich's conceptualisation of “social validation” to these sectors. This suggests that valorisation depends upon goods and services attaining commodity status by selling for money. Value is subject to this validation. The capitalist use of advertising, graphic design and branding guarantees the possibility of this validation. Using Heinrich, it re-evaluates claims made about the creative industries and cognate fields in three main respects. First, it exposes as inadequate certain Marxist understandings of productive and unproductive labour and the place of circulation activities within this distinction. Second, it refutes autonomist Marxist claims as to the immeasurability of immaterial labour and the redundancy of the law of value. Third, it suggests that creative industries possess a significant role in a capitalist economy blighted by a necessity towards the overproduction of commodities.

Jean Baudrillard’ın “Tüketim Toplumu” Kavramının Etkilerinden Biri: “Hürrem” Ekonomisi adlı makale çalışmamızda kültür ve onun alt birimi olan popüler kültürün kitle iletişim araçları yoluyla toplum üzerinde yaptığı tüketim odaklı yeniden yapılanma süreci incelenmiştir. Bu yeniden yapılanma sürecinde; bireylerin gerçeklik algısını kurgulanmış bir dünya üzerine yönlendiren Ekme Teorisi, popüler kültür aracılığıyla fazlaca kanıksanan karakterlerle benzeşen “ideal insan”lar ve gerçeğin hipergerçeğe dönüştüğü Simulasyon Kuramı önem arz etmektedir. Tüm bu yeniden yapılanma süreçleri neticesinde bireyler kurgulanmış gerçeğin esareti altına girerek “O” olmak adına, ihtiyaç kavramından öte sahip olup yok etmek temeline dayanan bir tüketim alışkanlığı edinmiştir. Jean Baudrillard tarafından “Tüketim Toplumu” olarak tanımlanan kimliği değişmiş bu toplumların oluşumunda mikro düzeyde televizyon dizilerinin ve dizilerde öne çıkan karakterlerin önemi büyüktür. Günümüzde popüler dizilerde kullanılan ürünler toplumun hemen dikkatini çekmekte ve bu dikkatle aynı paralellikte ürünlerin satışı artmaktadır. Tekstil, yeme-içme, takı, mobilya gibi sektörlerde ve hatta sanatta popüler dizilerin konjonktürel etkileri görülmekte ve firmalarca bu etki iyi bir pazarlama stratejisi olarak kullanılmaktadır. Bu çalışmada da son zamanların en popüler dizisi olan Muhteşem Yüzyıl’ın Jean Baudrillard’ın Tüketim Toplumu üzerindeki etkileri incelenmiştir.

Obreros y empleados en vísperas del Tercer Reich, que hoy se publica en español, comenzó en 1931. El libro no vio la luz sino hasta 1980, cuando a instancias de Wolfgang Bonß, Erich Fromm aceptó su publicación en idioma alemán. Ésta era la investigación que Fromm más había referido a lo largo de su obra y la más rodeada de misterios de la Escuela de Frankfurt. Durante los cincuenta años previos a su publicación, se habló de ese trabajo como se habla de un mito. Se dijo que estaba inconcluso, que era imperfecto, que había cambiado la investigación cualitativa, que

In this chapter I offer a critical re-reading of the Frankfurt School’s concept of culture industry by arguing that this concept can only be understood in connection with the goals of critical theory [1] as a theory of society, [2] as an extension of Marx’s critique of political economy, as well as [3] as a materialistic theory of subjectivity. These three dimensions of the concept of culture industry are tied together by Kant’s concept of schematism that Adorno and Horkheimer turn into a social-material concept in order to analyze capitalist social relations.

Abstract
This article briefly delves into the issue of the role of social media (aka, cyber space) on the formations of economic and cultural developments of nations. First, a brief account of a socio-economic background of South Korea will be given to relate to its future survival in global economy. Then, the role of music and film sectors in the social media as a popular form of entertainment industry will be evaluated especially in terms of their function to provide economic benefits and promote Korean culture.

Key words: Korean wave, culture industry, popular culture, entertainment industry, social media, globalization.

"The Culture Industry Reconsidered" is Theodor W. Adorno's one of the most important texts, dealing with the hypocrisies of the modern cultural dispositive. Its sarcastic tone and sharp criticism makes it one of the most delicious pieces in the criticism of modernity. This week (28 11 2018) we will be dealing with the text in our Urban Histories and Theories course, with my dear colleague Duygu Kaçar. I made a minor explicator, although very quick and sketchy, I hope it will be a useful reminder for one of the most leading figures of 20th century, Theodor Adorno.

In questo articolo ci proponiamo di enucleare alcuni aspetti del concetto di cultura elaborato da Adorno in testi pubblicati in momenti diversi della sua attività e di tematizzare la sua concezione della Kulturkritik che in questi stessi scritti si delinea. Ci soffermiamo in primo luogo su un gruppo di articoli elaborati tra la metà gli anni ’30 e gli inizi degli anni ’40, in cui Adorno si confronta con i grandi critici della civiltà di massa, affrontiamo poi il problema della "Kulturkritik" in "Critica della cultura e società" (1949), quindi focalizziamo la diagnosi adorniana sui rapporti tra cultura e società in testi e conferenze più tardi, a partire da "Teoria della semicultura" (1959), senza trascurare di percorrere l’essenziale snodo teorico della riflessione sull’industria culturale.

The relationship between culture and consumer culture is a topic frequently discussed in the academic
field. Prevailing across the world capitalist economic order on the fact that people have to consume and
how consuming gave a rise to the emergence of consumption culture. In this study, the transmission of
culture, transporting and effective transforming of communication, while maintaining the consumption
of consumer culture has been argued that its audiences need to be internalized. Afterwards, the
publications of Telsim (Vodafone North Cyprus) being the professionally active GSM operator in
Northern Cyprus, PR news have been studied upon. As a result, two months of scanning the archives of
Telsim (Vodafone North Cyprus)'s reports on quantitative and qualitative content analysis were analyzed.
Keeping in mind the meanings which can be extracted from the obtained news on the distribution of PR
events and the news stories of the practical ways to influence the formation of consumer culture were
examined. The news was read in the triangle of the media, shareholders and consumers

Today, Forum Theater has become mainstream practice in Singapore. But from 1994 to 2004, the government tried to ban it. This article explores the political and economic dimensions of the birth, death, and re-birth of Forum Theater, focusing on the practice of The Necessary Stage and Drama Box.