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14 Chapter 1 What is popular culture?

of different solutions which have different implications and effects’ (86). The main
purpose of this book is to chart the many problems encountered, and the many solu-
tions suggested, in cultural theory’s complex engagement with popular culture. As we
shall discover, there is a lot of ground between Arnold’s view of popular culture as
‘anarchy’ and Dick Hebdige’s (1988) claim that, ‘In the West popular culture is no
longer marginal, still less subterranean. Most of the time and for most people it simply
is culture.’ Or, as Geoffrey Nowell-Smith (1987) notes, ‘popular cultural forms have
moved so far towards centre stage in British cultural life that the separate existence of
a distinctive popular culture in an oppositional relation to high culture is now in ques-
tion’ (80). This of course makes an understanding of the range of ways of theorizing
popular culture all the more important.
This book, then, is about the theorizing that has brought us to our present state of
thinking on popular culture. It is about how the changing terrain of popular culture
has been explored and mapped by different cultural theorists and different theoretical
approaches. It is upon their shoulders that we stand when we think critically about
popular culture. The aim of this book is to introduce readers to the different ways in
which popular culture has been analysed and the different popular cultures that have
been articulated as a result of the process of analysis. For it must be remembered that
popular culture is not a historically fixed set of popular texts and practices, nor is it a
historically fixed conceptual category. The object under theoretical scrutiny is both his-
torically variable, and always in part constructed by the very act of theoretical engage-
ment. This is further complicated by the fact that different theoretical perspectives have
tended to focus on particular areas of the popular cultural landscape. The most com-
mon division is between the study of texts (popular fiction, television, pop music, etc.)
and lived cultures or practices (seaside holidays, youth subcultures, the celebration of
Christmas, etc.). The aim of this book, therefore, is to provide readers with a map of
the terrain to enable them to begin their own explorations, to begin their own map-
ping of the main theoretical and political debates that have characterized the study of
popular culture.

Further reading

Storey, John (ed.), Cultural Theory and Popular Culture: A Reader, 4th edition, Harlow:
Pearson Education, 2009. This is the companion volume to this book. It contains
examples of most of the work discussed here. This book and the companion Reader
are supported by an interactive website (www.pearsoned.co.uk/storey). The website
has links to other useful sites and electronic resources.

Agger, Ben, Cultural Studies as Cultural Theory, London: Falmer Press, 1992. As the title
implies, this is a book about cultural studies written from a perspective sympathetic
to the Frankfurt School. It offers some useful commentary on popular culture, espe-
cially Chapter 2: ‘Popular culture as serious business’.