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Genealogy of Political Economy 53

100. Horkheimer and Adorno wrote: “Amusement under late capitalism is the pro-
longation of work. It is sought after as an escape from the mechanized work process,
and to recruit strength in order to be able to cope with it again. But at the same time,
mechanization has such power over a man’s leisure and happiness, and so profoundly
determines the manufacture of amusement goods, that his experiences are inevitably
after-images of the work process itself.” Horkheimer and Adorno, Dialectic of En-
lightenment, 137.
101. Adorno, “Free Time,” 168.
102. Theodor W. Adorno, “The Schema of Mass Culture,” in The Culture Indus-
try, by Theodor W. Adorno, edited with an Introduction by J. M. Bernstein (London:
Routledge, 1991), 77; originally published in German in 1981.
103. Michael R. Real, “The Super-Bowl: Mythic Spectacle,” in Mass-Mediated Cul-
ture (Englewood Cliffs, NJ: Prentice-Hall, 1977), 92–117; Arthur Asa Berger, Media
Analysis Techniques, 3rd Edition (Newbury Park: SAGE Publications, 2004), 106–17;
Michael Mandelbaum, The Meaning of Sports: Why Americans Watch Baseball, Football
and Basketball and What They See When They Do (New York: Public Affairs, 2004).
104. Horkheimer and Adorno, Dialectic of Enlightenment, 137.
105. Theodor W. Adorno, “How to Look at Television” (1954; reprint, The Culture
Industry, by Theodor W. Adorno, edited with an Introduction by J. M. Bernstein, Lon-
don: Routledge, 1991), 138.
106. Cook, The Culture Industry Revisited, 61.
107. Cook, The Culture Industry Revisited, 7–8.
108. Adorno, “How to Look at Television,” 141.
109. Adorno, “How to Look at Television,” 142.
110. According to Adorno, since film, for example, accommodates various levels
of response, “this would imply that the ideology provided by the industry, its offi-
cially intended models, may by no means automatically correspond to those that af-
fect the spectators.” Theodor W. Adorno, “Transparencies on Film,” (1981–82;
reprint, The Culture Industry, by Theodor W. Adorno, edited with an Introduction by
J. M. Bernstein, London: Routledge, 1991), 157.
111. Adorno, “Transparencies on Film,” 156.
112. Horkheimer and Adorno, Dialectic of Enlightenment, 123.
113. Raymond Williams, The Year 2000 (New York: Pantheon, 1983), 118.
114. Horkheimer and Adorno, Dialectic of Enlightenment, 123.
115. Robert McChesney, Rich Media, Poor Democracy (New York: The New
Press, 1999); Ben Bagdikian, The Media Monopoly (6th ed., Boston: Beacon Press,
2000).
116. Adorno, “Culture Industry Revisited,” 89.
117. Adorno, “Culture Industry Revisited,” 91, 90.
118. Adorno, “Culture Industry Revisited,” 89.
119. Adorno, “Culture Industry Revisited,” 91.
120. Horkheimer and Adorno, Dialectic of Enlightenment, 4.
121. Odysseus plugged the ears of his crew so they would not be lured by the
sirens’ seductive call; he had himself strapped to the mast so that he could hear their
call but be rendered incapable of responding. Jarvis, interpreting Horkheimer and