Concept Of Cultural Industry Research Articles

Immaterial Labor, culture and domination

The postulation of immaterial labor as something pivotal in the current historical moment is, at the same time, something related to the transformations of contemporary culture in the form of cultural production. We seek to conceive the intertwining between immaterial labor and cultural production as a key aspect of a new historical moment of capitalism or of late capitalism. In this sense, we seek to investigate a few problems that also derive from the Frankfurt School tradition, mainly the concept of cultural industry. Our hypothesis is that the concept of cultural industry and its overcoming by the post-industry era is central to understanding how this new stage demands us to take a new look on the issues of domination and emancipation.

Indústria cultural e semiformação: democracia e educação sob ataque nos países ibero-americanos à luz da teoria crítica

This essay aims to reflect, based on the foundations of the Critical Theory of Society, about cultural industry and semi-formation (Halbbildung) in the context of Ibero-American countries. The concept of cultural industry not only remains relevant, but it is fundamental to understanding semi-formation or damaged formation. The reflection is anchored in M. Horkheimer, T. W. Adorno and H. Marcuse, first generation thinkers of the Frankfurt School. Formation (Bildung), as assumed by these authors, can provide the necessary substrates for the praxis of resistance to the process that prevents the flourishing of autonomous individuality, in which democracy has been attacked.

Avaliação nacional do ensino médio e indústria cultural: da competência leitora à crise da leitura

Through the Critical Theory of Society, especially the concept of cultural industry, the objective is to analyze the reading competence assessed by the National High School Evaluation (Enem), taking as an example a question of the Languages, Codes and their Technologies (LCT) evaluation; the text, the statements and the alternatives of the question are objects of this analysis. Reading needs to involve critical reflection, however, Enem emphasizes a world reading more focused on identifying explicit information in the text and solving problem situations. In this sense, language and communication skills are subjugated to competences that eventually reduce the act of reading to aspects of formation that contribute to reiterate the existing world.

Russian media: a call for theorising the economic change

ABSTRACTThis article attempts to analyse and discuss the nature of economic change in Russian media. For this purpose, the author uses the influential conceptual approaches to the Russian media industry, elaborated on by the Russian and foreign media scholars, considering both media economic tradition and a transitional media approach, focusing on the classical concept of cultural industries and the latest econometric data analysis as well. Beyond this theoretical overview, the Russian media industry is explored in the last decades, with a view to the major market indicators. The present state of the Russian media industry is discussed by focusing on the current trends and processes, such as commercialisation, digitalisation, and de-regulation, taking into account its national specificities. The author argues that the media’s economic change in post-Soviet Russia produces an interesting research case of the media industry characterised both by universal market-driven and nationally determined features.

A indústria cultural e suas vicissitudes: entre o conceito e a realidade

Eu busco neste artigo mostrar alguns aspectos relativos a diferentes pesquisas e reflexões que empreendi em anos recentes sobre o conceito de indústria cultural. A questão central é o pensamento de Theodor W. Adorno com especial atenção para a atualidade de sua dialética negativa. Minha intervenção acerca da atualidade do conceito de indústria cultural possui três passos argumentativos: o entrelaçamento entre racionalidade e dominação como a base de uma teoria da sociedade em Adorno; algumas mudanças no capitalismo contemporâneo e suas implicações para um conceito de indústria cultural no século XXI e; a posição da indústria cultural no contexto da Sociologia brasileira. O objetivo central do artigo, produzido na forma de ensaio, é enfatizar a atualidade da teoria crítica da sociedade de Theodor Adorno mediante argumentos específicos ao campo da Sociologia.

UMETNOST I KULTURNA INDUSTRIJA U ADORNOVOJ FILOZOFIJI

Adornovi pojmovi umetnosti i kulturne industrije u ovom radu biće razmatrani s obzirom na njihovu ulogu u društvenom totalitetu. U prvom poglavlju rada autor analizira Adornov način pristupa kulturnim fenomenima i njegovu kritiku pojma kulture kao unificirane celine. Potom, autor skreće pažnju na Adornovu tezu o modernoj umetnosti kao mestu negacije društvenog totaliteta. U nastavku sledi analiza Adornovog određenja kulturne industrije kao pseudo-kulture i pseudo-umetnosti. Na samom kraju, autor skreće pažnju na potencijalne društveno-progresivne implikacije sadržane u pojmu kulturne industrije.

Breve caracterización del Instituto Cubano de Arte e Industria Cinematográficos como industria cultural

La Economía Política de la Comunicación proporciona la plataforma teórica para comprender el movimiento cinematográfico cubano desde el concepto de industria cultural. La concepción fundacional del ICAIC respecto al cine como un hecho artístico más que económico resulta coherente con la condición improductiva del trabajo y el alto valor social que caracteriza su actividad. Se constatan, no obstante, contradicciones y tensiones críticas en relación con la finalidad social y la sostenibilidad económica, la producción de autor y las fuentes de financiamiento, la defensa de la identidad nacional y la necesidad de inserción en circuitos comerciales a nivel global.

Gli studi sull'industria culturale in Italia

The article summarizes the Italian debate on the concept of cultural industry, since the first translations of the main authors in the field (Horkheimer, Adorno, Benjamin, Morin). The article is articulated in three parts. The first one discusses the way the national debate developed the concept, following the main indications of the authors quoted above. The second part follows the two main theoretical path in studies on cultural industry in italian bibliography: the sociohistorical studies on the media production and the ethno-social studies on creative industries. The third part proposes some questions about the possible development of the studies in the era of digitalization.

Industrias culturales y estética: un rastreo sobre su posible relación

This paper elaborates a journey through the concept of cultural industries from the aesthetic perspective. It is a reflection that arises within the research of everyday esthetics and literature, which aims to address the literary reading from the perspective of every day aesthetics in the context of training Communication and Audiovisual Languages students, i.e., training professionals who will generate and manage content in the Cultural Industries. A documentary research methodology was followed, tracking the major theoretical contributions reviewed by critics in the field. At the end discussion on the field of emergencies in which some concerns arose during the exercise and that fuels future research.

O panorama actual das industrias culturais galegas: as políticas públicas culturais

Based on a socio-political analysis perspective, this work is about the state before the autonomy of Galicia and the immediate evolution of Galician public politics once its autonomy was set up, with the aim of understanding the current situation of our culture. At the same time, it exposes in detail the current concept of cultural industries and it reviews the strategies developed by this sector in our autonomous region as a mechanism to guarantee the cultural projects’ viability and autonomy.

A TERRITORIALIZAÇÃO DO POLO CINEMATOGRÁFICO DE PAULÍNIA, SÃO PAULO

Presente artigo avalia as consequencias espaciais do surgimento de uma ambiciosa politica cultural no municipio de Paulinia (SP) em 2006, assim como os impasses para o seu desenvolvimento a partir de 2012. Mais precisamente, escolhemos trabalhar com os desafios da criacao de um polo cinematografico em Paulinia. Para tanto, tomamos como referencia o conceito de industria cultural, tal qual este foi desenvolvido por Scott e Power (2004), o qual pode ser sintetizado como uma estrategia promovida por agentes publicos e/ou privados para criar uma economia capaz de se referenciar culturalmente ao mesmo tempo em que fortalece uma cultura que ganha valor economico. Uma industria cultural poderia promover uma atividade economica capaz de se beneficiar da vida social de uma cidade e que faz uso de recursos inesgotaveis, alem de contar com um mercado consumidor em constante crescimento. Com isso, esperamos contribuir para a Geografia Cultural brasileira ao apresentar uma discussao que promove o encontro de argumentos fundados tanto nas logicas economicas quanto nos significados culturais, ao contrario daquilo que a Geografia tradicionalmente fez.

Aproximações da Educação Física com a indústria cultural

This paper provides a brief historical background on the critical theory trajectory focusing in discussion of Cultural Industry (CI) and Semi culture, approaching the issue in Physical Education context. The goal is to show how Physical Education studies dialogue with the concept of cultural industry and how relevant this interaction is. This approach was proposed by the relationship between the concept of CI and four Physical Education themes: art, health, leisure and school. We search scientific papers in four journals: Motrivivência, Movimento, Pensar a Prática e Educação e Pesquisa. We conclude the importance of emancipatory education, that is capable of triggering critical and autonomous attitudes.

Crowdfunding e Indústria Cultural: as novas relações de produção e consumo baseadas na cultura da participação e no financiamento coletivo

The configuration of a new standard of consumption and cultural production based on the participation of consumers through the Internet has become a feature of modern society (Jenkins, 2009; Shirky, 2011). Based on this premise, we intend to analyze the process of crowd funding, in which a mass of staff is united in the realization of cultural projects and to create a unique product, under the bias of the culturological theory. This work is also raising questions as to the timeliness of the concept of cultural industry in the face of new practices allowed by digital networks and a potential democratization, focusing the brazilian website Catarse.

The Chinese Understanding of Cultural Industries

Cultural industries in China always receive much support from governments and are developing quite fast. This paper will explain the concept of cultural industries in China and show the history of China’s Cultural Industries from the perspective of policy. And there will be a detailed analysis of the situation of this sector by a number of latest figures and data which are from social surveys lasting for 6 months around the nation. Then the paper will discuss the problems and opportunities of Chinese cultural industries.

The Study about Development Status, Trends and Paths of Cultural Industry in China

Abstract Since in “the suggestions about making out the tenth five-year plan for national economy and social development” adopted by the Fifth Plenary Session in 2000, the concept of cultural industry appeared formally, China's entity economy and external trade of cultural industry have developed greatly. With the era of knowledge economy coming and financial crisis’ affection, China's cultural industry is facing new environment and challenges. The paper gave analysis on development status of cultural industry for 10 years; combining with new development environment, the paper summarized three trends of development and proposed suggestions on development paths to revitalize cultural industry in new period.

Indústrias criativas: definição, limites e possibilidades

O termo "indústrias criativas" surgiu nos anos 1990, para designar setores nos quais a criatividade é uma dimensão essencial do negócio. As indústrias criativas compreendem, entre outras, as atividades relacionadas ao cinema, ao teatro, à música e às artes plásticas. Neste artigo introdutório, mostramos o surgimento do termo no âmbito de políticas públicas de desenvolvimento econômico, analisamos a literatura científica sobre as indústrias criativas e procuramos sistematizar as diferentes definições do termo, diferenciando-o de conceitos similares, em especial do conceito de indústrias culturais. Advogamos que o fenômeno pode constituir um campo fecundo de investigações para pesquisadores de Estudos Organizacionais e apontamos trilhas de investigação a serem exploradas.

Sobre a atualidade do conceito de Indústria Cultural

Este texto objetiva argumentar que a essência do conceito de Indústria Cultural não só permanece atual, como também é relevante para a crítica das condições sociais que fundamentam a universalização da semiformação (Halbbildung). Conclui-se que uma concepção educacional crítica, balizada nos escritos de Theodor W. Adorno, poderia oferecer subsídios iniciais para uma práxis de resistência a esse processo de debilitação da individualidade.

Introduction to Adorno

In printing Adorno's Industry Reconsidered, an essay which sums up ideas first developed in Horkheimer and Adorno's Dialektik der Aufkldrung,l New German Critique's intention is not only to elaborate again theories of manipulation, reification and administration of culture and their obvious negative implications for human praxis. Nor is our interest merely archival or historical; we are not publishing this essay simply because Adorno was one of the first to use critical Marxist thought to illuminate Western mass culture, which for years had been dismissed by conservative culture critics with elitist moralizing. It might make some sense to use the essay for its implicit attack on the impressionistic and mindless thesis of pluralism, current in American research on mass culture and popular taste, a thesis which predominates in the Journal of Popular Culture (1967 ff.) and in the recently published study by Herbert J. Gans, Popular Culture and High Culture (1974). However, it can not be considered a major task of contemporary Marxist research on mass culture to criticize once again the ideologically affirmative thesis of pluralism. How then can this essay--carried by the Hessian Broadcasting System in the spring of 1963 as a contribution to the International Radio University Program and later published in Ohne Leitbild (1967)-relate to present-day debates? Does it raise questions about mass culture and public sphere which still concern us today, even if we wish to abandon the conceptual framework of Adorno's philosophy? First, Adorno's concept of culture industry must be placed in a historical context and explained in relationship to other theories of mass culture as developed by Kracauer, Brecht and Benjamin. A historical understanding of of Adorno's position is all the more important since Adorno consistently avoided historic specificity in his work, though his thought unmistakably developed in reaction to historical events. The striking time-and-spacelessness of Industry Reconsidered points to Adorno's secret hostility toward history.2 This hostility in turn reflects his rejection of the determinate negation as a key concept of the philosophy of history, and indicates his insistence on negativity and refusal as crucial elements of a

Poder e Comunicação. Um breve debate sobre a questão do poder nos meios de comunicação de massa

Este trabalho trata do poder e de como ele é exercido através da comunicação de massa, utilizada pelas classes dominantes e Estados como Aparelhos Ideológicos. Através deste conceito iniciamos uma discussão da relação entre poder, classe dominante e ideologia, com base nos pensamentos de, Gramsci, Adorno e Horkheimer, Althusser e Bourdieu. Buscamos assim reunir neste artigo alguns aspectos sobre esta relação entre o exercício do poder e comunicação de massa, traçando para isso um caminho que vai das ideologias à sua transmissão por meio da comunicação de massa, aqui entendida por meio do conceito althusseriano de Aparelho Ideológico do Estado, e da noção de Indústria Cultural de Adorno e Horkheimer.