Marxism And Media Studies: Key Concepts and Contemporary Trends
Pluto Press, 20 jul. 2003 - 304 pagina's
Although media studies is a popular academic discipline, there are remarkably few books that analyse it from a specifically Marxist perspective. Mike Wayne's book is ideal for all students of media studies who are interested in bringing a radical political methodology to bear on their work. He presents an accessible guide to key Marxist concepts and shows how to apply them to contemporary cultural analysis.Drawing on Marx, Lukacs, Gramsci, Habermas, Jameson and other writers, this book provides a comprehensive exposition of the key concepts required for a Marxist analysis of the media and current cultural trends. Retooling and redeeming such concepts as class, mode of production, culture industries, the state, base-superstructure, ideology, hegemony, knowledge and social interests, and commodity fetishism, this book ranges across film, television, the internet and print media. The analysis is carefully grounded in case studies ranging from digital file swapping to Disney, from reality TV show Big Brother to the spirits and spectres in such films as The Others, The Devil's Backbone and Dark City, which illuminate the fetishisms of culture and society under capital.Exploring the relevance of each concept to understanding the media, Wayne explains why Marxism is an important critical methodology for the media student to engage with. He foregrounds the theoretical and political shifts that have led to its marginalisation in recent years, and highlights how and why these trends are changing as once more, people return to Marx and Marxism to understand the world around them.
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abstract accumulation advertising analysis appearance-forms argued audience autonomy base-superstructure become Big Brother bourgeois broadcasting capital capital's capitalist mode Chapter commodity fetishism communication companies competition concept concrete conflict consciousness consumer contradiction corporate crisis critical critique crucial dialectical differentiated discourse Disney dominant example film forces of production Fordism Gramsci Habermas historical Hollywood human labour ideology immanence industry Internet intersubjectivity ITV Digital Jameson knowledge labour power language liberal logic Lukacs Marx Marxian Marxism material means media policy middle class mode of development mode of production monopoly Napster object organised paradigm particular philosophy political post-Fordism postmodern potential practices production process productive forces profit programme public sphere question reality reification relations of production representation repression Saussurean sense signifying signs social relations society strategies structure superstructure surplus value television theory tion use-value workers Zizek