Page 46 - Cultural Theory and Popular Culture an Introduction

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30 Chapter 2 The ‘culture and civilization’ tradition

of Mass Culture than is the U.S.A’ (ibid.). This fact, he claims, is often missed by
critics who focus only on the ‘form’ of mass culture in the Soviet Union. But it is mass
culture (not folk culture: the expression of the people; nor high culture: the expression
of the individual artist); and it differs from American mass culture in that ‘its quality is
even lower’, and in that ‘it exploits rather than satisfies the cultural needs of the masses
...for political rather than commercial reasons’ (24). In spite of its superiority to
Soviet mass culture, American mass culture still represents a problem (‘acute in the
United States’): ‘The eruption of the masses onto the political stage [produced] . . .
disastrous cultural results’ (ibid.). This problem has been compounded by the absence
of ‘a clearly defined cultural elite’ (ibid.). If one existed, the masses could have mass
culture and the elite could have high culture. However, without a cultural elite,
America is under threat from a Gresham’s Law of culture: the bad will drive out the
good; the result will be not just a homogeneous culture but a ‘homogenized culture . . .
that threatens to engulf everything in its spreading ooze’ (27), dispersing the cream
from the top and turning the American people into infantile masses. His conclusions
are pessimistic to say the least: ‘far from Mass Culture getting better, we will be lucky if
it doesn’t get worse’ (29).
The analysis changes again as we move from the disillusioned ex-Trotskyism of
Macdonald to the liberalism of Ernest van den Haag (1957), who suggests that mass
culture is the inevitable outcome of mass society and mass production:

The mass produced article need not aim low, but it must aim at an average of
tastes. In satisfying all (or at least many) individual tastes in some respects, it vio-
lates each in other respects. For there are so far no average persons having average
tastes. Averages are but statistical composites. A mass produced article, while
reflecting nearly everybody’s taste to some extent, is unlikely to embody anybody’s
taste fully. This is one source of the sense of violation which is rationalized vaguely
in theories about deliberate debasement of taste (512).

He also suggests another reason: the temptations offered by mass culture to high
culture. Two factors must be particularly tempting: (i) the financial rewards of mass
culture, and (ii) the potentially enormous audience. He uses Dante as an illustration.
Although Dante may have suffered religious and political pressures, he was not
tempted to shape his work to make it appeal to an average of tastes. Had he been
‘tempted to write for Sports Illustrated’ or had he been asked ‘to condense his work for
Reader’s Digest’ or had he been given a contract ‘to adapt it for the movies’, would he
have been able to maintain his aesthetic and moral standards? Dante was fortunate; his
talent was never really tempted to stray from the true path of creativity: ‘there were no
alternatives to being as good a writer as his talent permitted’ (521).
It is not so much that mass taste has deteriorated, van den Haag argues, but that
mass taste has become more important to the cultural producers in Western societies.
Like White, he notes the plurality of cultural texts and practices consumed in America.
However, he also notes the way in which high culture and folk culture are absorbed
into mass culture, and are consequently consumed as mass culture: ‘it is not new nor