Cultural production and consumption of images in the marketplace

2015 ◽  
Author(s):  
Laurie A. Meamber
Keyword(s):  
Cultural Production ◽  
Production And Consumption

Comparative research on cultural production and consumption

Poetics ◽  
2005 ◽  
Vol 33 (5-6) ◽  
pp. 253-256 ◽  
Author(s):  
Susanne Janssen ◽  
Richard A. Peterson
Keyword(s):  
Cultural Production ◽  
Comparative Research ◽  
Production And Consumption

scholarly journals ‘What Difference does it Make? Women's Pop Cultural Production and Consumption in Manchester’

2000 ◽  
Vol 5 (1) ◽  
pp. 116-129 ◽  
Author(s):  
Nicola Richards ◽  
Katie Milestone
Keyword(s):  
Popular Music ◽  
Urban Space ◽  
Cultural Production ◽  
Consumption Patterns ◽  
Cultural Industries ◽  
Production And Consumption ◽  
Gender Characteristics ◽  
Gender Power ◽  
The City ◽  
Experiences Of Women

This paper explores the experiences of women in small cultural businesses and is based upon interviews with women working in a range of contexts in Manchester's popular music sector. The research seeks to promote wider consideration of women's roles in cultural production and consumption. We argue that it is necessary that experiences of production and consumption be understood as inter-related processes. Each part of this process is imbued with particular gender characteristics that can serve to reinforce existing patterns and hierarchies. We explore the ways in which female leisure and consumption patterns have been marginalised and how this in turn shapes cultural production. This process influences career choices but it is also reinforced through the integration of consumption into the cultural workplace. Practices often associated with the sector, such as the blurring of work and leisure and ‘networking’, appear to be understood and operated in significantly different ways by women. As cultural industries such as popular music are predicated upon the colonisation of urban space we explore the use of the city and the particular character of Manchester's music scene. We conclude that, despite the existence of highly contingent and individualised identities, significant gender power relations remain evident. These are particularly clear in discussion of the performative and sexualised aspects of the job.

scholarly journals Continental shifts: capitalism, communications and change in Europe

2005 ◽  
Vol 7 ◽  
pp. 11-23
Author(s):  
Graham Murdock
Keyword(s):  
Political Economy ◽  
Cultural Production ◽  
Critical Approach ◽  
Production And Consumption ◽  
Challenges And Opportunities ◽  
Recent Developments ◽  
Classic Approach ◽  
Media Markets ◽  
The Media ◽  
Distribution Of Power

This article puts forward the fundamental lines of thought on the Political Economy of Communications and the Media, since the development of capitalism up to the present day. Clarifying the distinction between Economy and Political Economy, this work examines the central split between two traditions within Political Economy: the Classic approach which is centred on markets and competition mechanisms and the Critical approach which is centred on the analysis of property and the distribution of power in society. Despite internal distinct traditions, for political economists’ questions about cultural production and consumption are never simply matters of economic organisation or creative expression and the relations between them. They are always also questions about the organisation of power and its consequences for the constitution of public life. Based on different Political Economy perspectives, this article attempts to present the most recent developments on communications and media markets in Europe and the major challenges and opportunities the discipline faces in a time marked by the emergence of a digital public sphere.

scholarly journals Trysting Genres: Andrew Lang’s Fairy Tale Methodologies

2014 ◽  
Author(s):  
Molly Clark Hillard
Keyword(s):  
Social Science ◽  
Cultural Production ◽  
Fairy Tales ◽  
Alternative Model ◽  
Fairy Tale ◽  
Fine Arts ◽  
Science Writing ◽  
Creative Work ◽  
Literary Production ◽  
Production And Consumption

Andrew Lang represents an alternative model to the cult of the solo literary genius that occupied so much of the Victorian literary landscape, a model that is defined by collaboration and coterie production, and one that troubles the rigidities of discipline and genre. This essay, with Lang at its core, throws into relief the extent to which all authorship is a collective endeavor between forms and across time. While Lang’s entire oeuvre is important, this essay is most interested in his work on the fairy tale. For this essay, Lang is one practitioner of a kind of discourse generated in the wake of the Victorian fairy tale surge—the widespread incorporation of fairy tales into other Victorian literary and cultural forms like theater, fine arts, and literature. What a fairy tale was, and to whom or to what it belonged, were questions that frequently ran through contemporary discourse about literary production, like the copyright debates, the plagiarism debates, and the ongoing discussion about whether social science writing was or was not a kind of creative work. Lang’s treatment of the fairy tale, especially in his popular Colored Fairy Books, places him at the end of this century-long conversation about the nature of originality. This essay considers how Lang’s position at the center of multiple, linked networks might owe something, or everything, to his play with the fairy tale, arguably the most “networked” of forms. Lang’s very interdisciplinarity can help us to understand the extent to which the fairy tale’s language, figures, structure, authors, and methods of production had come to influence other forms of cultural production and consumption.

scholarly journals Hit Or Miss: What One Hit Wonders Show About The Production And Consumption Of Cultural Products

2019 ◽  
Author(s):  
Jacob Derechin
Keyword(s):  
Cultural Production ◽  
Cultural Products ◽  
Intermediate Case ◽  
Institutional Power ◽  
Production And Consumption

We analyze One Hit Wonders on the Billboard Hot 100 from perspective of both cultural production and optimal differentiation to try and understand how One Hit Wonders emerge. One Hit Wonders as a category do not cleanly fit into either the cultural production or optimal differentiation framework, and as in intermediate case illustrates the interplay between both consumer taste and institutional power in markets for cultural products.

scholarly journals Left politics and popular culture in Britain: From left-wing populism to ‘popular leftism’

Politics ◽  
2020 ◽  
pp. 026339572096066
Author(s):  
Jonathan Dean
Keyword(s):  
Popular Culture ◽  
Cultural Production ◽  
Party Leader ◽  
Left Wing ◽  
Cultural Aspects ◽  
Production And Consumption ◽  
British Labour ◽  
Classic Essay ◽  
Popular Feminism ◽  
The Relationship

This article analyses the cultural traction and media visibility yielded by left-wing ideas and people during Jeremy Corbyn’s tenure as British Labour Party leader (2015–2019), while also offering some more general reflections on the relationship between left politics and popular culture. I begin by noting that the cultural and media aspects of Corbynism have largely been neglected in the scholarly literature. I then go on to caution against the temptation of subsuming the cultural aspects of Corbyn-era left politics under the label of ‘left-wing populism’. Instead, I defend a conception of ‘popular leftism’ as distinct from ‘left-wing populism’, via an engagement with Stuart Hall’s classic essay ‘Notes on Deconstructing the Popular’, as well as Sarah Banet-Wesier’s recent work on popular feminism. The second half of the article maps key features of ‘popular leftism’ as a distinct cultural/political formation that has emerged ‘in and against’ neoliberalism. In particular, it focuses on media visibility, affective tenor, and tactical and intellectual dynamics. While popular leftism’s entanglement with neoliberalism has proved problematic for its transformative capacity, I nonetheless conclude that its emergence is testament to the importance of popular cultural production and consumption in shaping recent iterations of left politics in Britain.

Painting historiography: Meleko Mokgosi's Democratic Intuition

Soundings ◽  
2021 ◽  
Vol 79 (79) ◽  
pp. 153-164
Author(s):  
Meleko Mokgosi ◽  
Ashleigh Barice
Keyword(s):  
Cultural Production ◽  
Theory And Practice ◽  
History Painting ◽  
Cultural Objects ◽  
Democracy Education ◽  
Western Art ◽  
Representational Space ◽  
Black Skin ◽  
Production And Consumption ◽  
Hayden White

This interview focuses particularly on Democratic Intuition (2013-20), Meleko Mokgosi's epic, eight-chapter painting cycle, the title of which references Gayatri Spivak's lecture on the necessary relationship between education and democracy. Education, reflection on theory and practice and engagement with young practitioners are all important parts of Mokgosi's work. The interview discusses the way the chapter format of Democratic Intuition is influenced by film processes, and the research and critical analysis on which his work is based; this includes historiography; the western genre of history painting; narrative tropes and the work of Hayden White; and painting techniques that more accurately construct Black skin tones. It also discusses discourses of race and assumptions about whiteness in the western canon; and whether there is a possibility for the Black subject to inhabit allegorical representational space without being overdetermined by histories of Blackness and race discourse. Stuart Hall's work has been important to Mokgosi because of its analysis of the complexities of the discourses within which cultural production and consumption is located. This has been helpful for reflecting on the location of the western art tradition within discourses of the Enlightenment and western humanism, which provide specific rules of circulation and consumption, and structures of authority. Such discourses assume that the viewer has the necessary tools or literacies to read in order to arrive at the meanings proposed in cultural objects. Mokgosi is engaged in continuous reflection on the extent to which, in spite of this, he, as a particular subject from Botswana, has managed to locate meaning within the narrow practice of painting.

Sign in / Sign up

Export Citation Format

Share Document