With regard to the concept of the culture industry, Horkheimer and Adorno’s critique is not limited to the appearance of the commodification of culture, but also goes deeper to reveal the complex mechanisms of social control behind this phenomenon. In order to better explain the implications of this theory, here are the examples I have cited.
1. Cultural commodification and standardization
Horkheimer and Adorno’s Dialectic of Enlightenment points out that one of the most distinctive features of the cultural industry is the standardization and commodification of cultural products. They argue that capitalist cultural production “robs” art of its original originality and depth through this mode. For example, art forms such as film and music are industrially produced to maximize marketability. Thomas Y. Levin, in his book The Logic of the Culture Industry, supports this view, pointing out that the Hollywood film industry is one of the most typical examples, where films are designed to suit the tastes of the global market, and therefore adopt a highly formulaic structure to ensure box office success [Levin, 2003].
Specifically, superhero movies such as the Marvel Cinematic Universe can be seen as a prime example of a cultural industry. Each movie follows a similar pattern of events – the growth of the hero, the confrontation of the villain, and the ultimate victory – and the repetitive nature of this pattern illustrates the standardized process of cultural production. Behind these movies is a set of precisely calculated marketing strategies to ensure that they appeal to the widest possible audience, and thus reap huge financial rewards (Hesmondhalgh, 2013).
2. Homogenization and Global Culture
Homogenization of cultural products is particularly evident in the context of globalization. Horkheimer and Adorno point out that when the cultural industry targets the global market, products become more and more similar and uniqueness is weakened to the extent that cultures gradually converge. David Harvey, in The Postmodern Condition, states that the logic of global capitalism is causing the disappearance of cultural specificity, and that global entertainment and cultural production is becoming increasingly “homogenized”, making it difficult to find real cultural differences even between different countries. It is difficult to find real cultural differences even between countries [Harvey, 1990].
Pop music is a good example. Despite the multiplicity of genres, mainstream pop music around the world is becoming more and more similar in terms of style, arrangement and theme. The commercial logic behind the production of American pop music such as TaylorSwift and Adele is almost identical-pop melodies, emotionally resonant lyrics, and extensive marketing to ensure commercial success on a global scale. This kind of convergent music culture not only limits the diversity of artistic expression, but also makes listeners gradually lose the ability to appreciate different cultures [Negus, 1999].
3. Pseudo-individuality and consumer illusion “Pseudo-individuality is an important concept in the culture industry, which refers to the fact that although cultural products seem to offer a large number of different choices, these choices are similar in nature. This phenomenon is particularly prominent in today’s fashion industry. Pierre Bourdieu, in Distinction, analyzes how fashion maintains social class divisions through repetition and commodification, but gives consumers the illusion of freedom of choice by creating the illusion of pseudo-individuality.【Bourdieu, 1984】
4. Ideological control and entertainment
Horkheimer and Adorno further state that the culture industry consolidates ideological control in capitalist societies through entertainment. The main function of entertainment products is no longer to inspire thought, but to sap the individual’s sense of resistance through harmless entertainment. Neil Postman makes a similar argument in Entertainment is Dead, where he argues that media such as television and movies have become increasingly entertainment-centered, thus weakening the public’s critical thinking and making them more receptive to existing social structures [Postman, 1985].
For example, reality television programs such as American Idol（American Idol, or Survivor, for example.Although they provide a great deal of entertainment, most of these programs convey stories of consumerism and personal success, reinforcing the values of mainstream society at the expense of discussing issues such as social inequality and class division.By providing short-lived emotional stimulation, these entertainment products reduce the public’s critique and reflection on deeper social issues [McChesney, 2004].
Overall, the theories of the cultural industry not only reveal the problems of cultural commodification and standardization in capitalist societies, but also provoke us to reflect on contemporary cultural consumption. From Hollywood blockbusters to global pop music to the “pseudo-individuality” of the fashion industry, these examples show that under the manipulation of the culture industry, culture is losing its uniqueness and criticality, and becoming a tool to consolidate the existing power structure.
Quote
Bourdieu, P. (1984). Distinction: A Social Critique of the Judgement of Taste. Harvard University Press.
Harvey, D. (1990). The Condition of Postmodernity. Blackwell.
Hesmondhalgh, D. (2013). The Cultural Industries. SAGE Publications.
Horkheimer, M., & Adorno, T. W.(1944/2002). Dialectic of Enlightenment:Philosophical
Fragments. (Edmund Jephcott, Trans.). Stanford University Press.
Levin, T. Y. (2003). “The Logic of the Culture Industry”. In The Culture Industry Revisited.
McChesney, R. W. (2004). The Problem of the Media: U.S. Communication Politics in the Twenty-First Century. Monthly Review Press.
Negus, K. (1999). Music Genres and Corporate Cultures. Routledge.
Postman, N. (1985). Amusing Ourselves to Death: Public Discourse in the Age of Show Business. Viking.
Slater, D. (1997). Consumer Culture and Modernity. Polity Press.
