Page 189 - Decoding Culture
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182  D E C O D I N G   C U L TURE

          considerations sneak to the fore. Clearly he sees himself correcting
           an imbalance, and there are indeed conceptual imbalances in need
           of  correction  in  cultural  studies.  Whether  Fiske's  somewhat
           romantic optimism  about the potential for resistance in  popular
          culture is the appropriate theoretical strategy, however, is not so
           clear.  That  optimism,  and  the  celebratory  tone  that  attends  it,
           surely leads to equally problematic imbalances in the other direc­
           tion.  Consider, for example, his repeated insistence that popular
          culture is 'progressive'. 'Popular culture always has a progressive
          potential,' he says (ibid: 177) , by which he means that the materials
           of popular culture can be and are utilized to construct resistance in
          the  micro-politics  of everyday  life.  'Its progressiveness  is  con­
          cerned with redistributing power within these structures  [family,
          work, classroom] toward the disempowered; it attempts to enlarge
           the space within which bottom-up power has to operate'  (ibid: 56) .
           Sometimes  he  seems  to  write  as  if  this  potential  was  always
           realised in the very existence of popular culture, a claim which is
           trivially true in that, for Fiske, real popular culture is definitionally
           made by consumers in the act of resistance. But (popular) cultural
           resources are surely used just as often at the micro-political level in
           sustaining existing power relations, and constantly to stress their
          progressive use is to lose sight of the complexity of micro-politics
           in the cause of an overstated corrective to the 'pessimistic reduc­
           tionism' (ibid: 192) of incorporation arguments. Although it is true
           that people  use culture  of all  kinds  to  resist the constraints  of
           everyday life, that is by no means its only or even its dominant use.
             Does this work represent an uncritical populist drift in cultural
           studies,  as  McGuigan  (1992:  171-172)  suggests,  founded  on  an
           'increasingly sentimental' solidarity with ordinary people and over­
           attention to micro-processes of meaning construction? In general
           terms we have to concede that it probably does, although Fiske's
           tendency periodically to qualify and even contradict his stronger





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