Page 78 - Cultural Theory and Popular Culture an Introduction

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62 Chapter 4 Marxisms

The Frankfurt School

The Frankfurt School is the name given to a group of German intellectuals associated
with the Institute for Social Research at the University of Frankfurt. The Institute was
established in 1923. Following the coming to power of Hitler in 1933, it moved to
New York, attaching itself to the University of Columbia. In 1949 it moved back to
Germany. ‘Critical Theory’ is the name given to the Institute’s critical mix of Marxism
and psychoanalysis. The Institute’s work on popular culture is mostly associated with
the writings of Theodor Adorno, Walter Benjamin, Max Horkheimer, Leo Lowenthal
and Herbert Marcuse.
In 1944 Theodor Adorno and Max Horkheimer (1979) coined the term ‘culture
industry’ to designate the products and processes of mass culture. The products of the
culture industry, they claim, are marked by two features: homogeneity, ‘film, radio and
magazines make up a system which is uniform as a whole and in every part . . . all mass
culture is identical’ (120–1); and predictability:

As soon as the film begins, it is quite clear how it will end, and who will be
rewarded, punished, or forgotten. In light music [popular music], once the trained
ear has heard the first notes of the hit song, it can guess what is coming and feel
flattered when it does come. . . . The result is a constant reproduction of the same
thing (125, 134).

Whereas Arnold and Leavisism had worried that popular culture represented a threat
to cultural and social authority, the Frankfurt School argue that it actually produces the
opposite effect; it maintains social authority. Where Arnold and Leavis saw ‘anarchy’,
the Frankfurt School see only ‘conformity’: a situation in which ‘the deceived masses’
(133) are caught in a ‘circle of manipulation and retroactive need in which the unity
of the system grows ever stronger’ (121). Here is Adorno reading an American situ-
ation comedy about a young schoolteacher who is both underpaid [some things do
not change], and continually fined by her school principal. As a result, she is without
money and therefore without food. The humour of the storyline consists in her vari-
ous attempts to secure a meal at the expense of friends and acquaintances. In his read-
ing of this situation comedy, Adorno is guided by the assumption that whilst it is
always difficult, if not impossible, to establish the unmistakable ‘message’ of a work of
‘authentic’ culture, the ‘hidden message’ of a piece of mass culture is not at all difficult
to discern. According to Adorno (1991a), ‘the script implies’:

If you are humorous, good natured, quick witted, and charming as she is, do not
worry about being paid a starvation wage. . . . In other words, the script is a shrewd
method of promoting adjustment to humiliating conditions by presenting them as
objectively comical and by giving a picture of a person who experiences even her
own inadequate position as an object of fun apparently free of any resentment
(143–4).