Page 188 - Decoding Culture
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                                      THE  RISE  F   THE  READER  181
          them - a distinction he borrows from de Certeau - popular cultural
          readers work against the system's language, a form of resistance
          promoting 'parole over langue, practice over structure' (ibid: 108) .
          Popular culture is thus the  site of a struggle to  use the  system's
          cultural resources against the system itself, at least in the sense of
          opening  up  space  for  everyday  resistance.  Indeed,  cultural
          resources only  become popular culture  because,  for  Fiske,  the
          latter is by definition formed in a process of reacting against what
          he calls the 'forces of domination'.
             Quite  how these forces work  is left largely unanalysed,  pre­
          sumably on the grounds that cultural studies has already paid more
          than enough attention to such issues. Yet periodically Fiske does
          retreat from the more extravagant rhetoric of cultural resistance.
          For example, in the  course  of discussing what he calls the  'pro­
          ducerly  text'  (a  somewhat  improbable  conjunction  of  the
          accessibility  of Barthes' 'readerly' text with  the  openness  of his
          'writerly'  one)  he  concedes that a  'double  focus' is  required  in
          analysing popular culture. The 'deep structures' of such texts show
          us domination in action, 'how insistently and insidiously the ideo­
          logical  forces  of domination  are  at work in  all  the  products  of
          patriarchal  consumer capitalism'  (ibid:  105) .  But the  pessimism
          that this insight engenders, where the  only hope  lies in radical
          revolution,  must  be  counterbalanced  by  a  more  optimistic  and
          'complementary focus'  on active cultural  resistance.  Traditional
          forms of analysis and criticism neglect this face of popular culture,
          he  suggests,  though  one wonders where he  might place  CCCS
          work of the kind reported in Resistance through  Rituals or all the
          appreciative criticism of popular genres scattered through the his­
          tory of film studies. No doubt they remained too concerned to see
          popular forms as finally recuperated by the dominant ideology.
             There is, then, a frustrating tendency in Fiske's account to reach
          for the  rhetoric  of semiotic  resistance whenever more  structural





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