Critical media theory can be traced back to the development of critical theory by thinkers associated with the so-called Frankfurt School in the 1920s and 1930s. The critical theory of the Frankfurt School was generally neo-Marxist and Hegelian, and established powerful critiques of positivist, mainstream forms of social science and philosophy. The Frankfurt School’s approach to theorizing the emergent 20th century “mass media” therefore founded a powerful critique of mainstream, positivist, “administrative” mass communication research that became dominant in the early decades of the discipline. Arguably the most direct theoretical descendants of Frankfurt School critical theory (via the latter’s critique of industrialized culture) are the forms of political economy of the media that emerged in their wake. By the 1960s and 1970s, however, competing Marxist analyses began to challenge what they took to be the economism, reductionism, and determinism of Frankfurt School and political economy approaches. The most important movement in these respects came out of the Centre for Contemporary Cultural Studies (CCCS) at the University of Birmingham in the United Kingdom. The so-called Birmingham School developed forms of structural and cultural Marxism that drew heavily on the work of Althusser and Gramsci in particular. Additionally, the CCCS developed semiotic and ethnographic approaches to critical media studies that drew upon thinkers such as Barthes and Geertz, and thus gave rise to theories of media audiences that differed sharply from those of the Frankfurt School and political economists. During the late-1970s and throughout the 1980s and 1990s, the critical media theory of the Birmingham School engaged closely with feminist theory and politics, and with critical race theory; it also engaged in dialogues and debates with poststructuralism, postmodernism, post-Marxism and postcolonialism, and spread internationally under the stripped-down heading of “Cultural Studies.” Though not unrelated, critical media theory can be differentiated from film theory: many film theorists reject the characterization of cinema as a “communication medium,” and equally rejected (for many years, at least) the engagement with television that spurred the development of a great deal of critical media theory and that helped give rise to the field of television studies in the 1970s and 1980s. Critical media theory in general, and television studies in particular, have incorporated some forms of psychoanalysis to one degree or another, but neither has been anywhere near as absorbed by psychoanalytic approaches as film theory was for many years (arguably as primarily a consequence of the specificity of the cinematic apparatus). In more recent years, new media theory in particular has been central to the continuing development and concerns of critical media theory more generally.
A Theoretical Defence of Film Theory and Criticism