Media Culture: Cultural Studies, Identity and Politics by Douglas Kellner

By Douglas Kellner

First released in 1995. Routledge is an imprint of Taylor & Francis, an informa corporation.

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Media Culture: Cultural Studies, Identity and Politics Between the Modern and the Postmodern

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Audiences are taught to get pleasure out of seeing “bad guys” violently eliminated and Fiske’s homeless men are simply reacting to the codes and conventions of Holly wood entertainment. To be sure, they are reacting with pleasure to the violent actions of those coded by the film as “villains” against those coded as “good guys” or innocent victims, so there is a reversal of the usual “good” and “bad” conventions, but the audience reaction valorized by Fiske as “resistance” is simply a visceral response to preconditioned Hollywood mechanisms that produce pleasure in the violent elimination of those deemed to be “bad” and deserving to be targets of violence.

15 APPROACHES TO CULTURAL STUDIES The metatheory for and models of social theory and cultural criticism that I am proposing here have been especially influenced by the Frankfurt School, British cultural studies, and postmodern/post-structuralist theory. As I indicate below, the Frankfurt School inaugurated critical studies of mass communication and culture and developed an early model of cultural studies. There are indeed many traditions and models of cultural studies, ranging from neo-Marxist models developed by Lukàcs, Gramsci, Bloch, and the Frankfurt School in the 1930s to feminist and psychoanalytic cultural studies.

Within the tradition of cultural studies reception research, there has been a call to distinguish between dominant, negotiated, and oppositional readings (Hall 1980b: taken up in Fiske’s work). This schema distinguishes between “dominant” readings, whereby audiences appropriate texts in line with the interests of the dominant culture and the ideological intentions of a text, as when audiences feel pleasure in the restoration of male power, law and order, and social stability at the end of a film like Die Hard, after the hero and representatives of authority eliminate the terrorists who had taken over a highrise corporate headquarters.

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