Page 193 - Decoding Culture
P. 193

186  D E C O D I N G   C U L TURE
           that  the  emergence of new revisionism in a  specifically  cultural
            studies context does make it a distinctly different beast to superfi­
           cially  similar  revisions  of the  orthodox  mass  communications
           tradition. Nevertheless, as we have  seen earlier in this chapter's
           discussion, there is some force to the claim that new revisionism is
            significantly less critical than its  predecessors,  not because  it is
            doing  no  more than  repeat previous  errors  in  new guises,  but
           because in embracing subjectivism it finds its focus restricted in
           empirical, theoretical and evaluative terms.
              In response to that, there is a tendency in critiques of new revi­
           sionism  to  suppose  that  reincorporating  political  economy
           considerations will return cultural studies to its proper critical role.
           McGuigan  (1992: 160), for instance, in resisting what he calls the
           'essentially  hermeneutic  perspective'  of the  likes  of Ang  and
           Morley, argues that macro-dynamics cannot be understood satis­
           factorily where 'interpretation of cultural consumption  [is] always
            firmly  at  the  centre  of the  analytic  picture'. These  'complex and
           obscure dynamics', he continues, 'are fundamentally about the dis­
            position  of material  resources,  corporate  decision-making  and
           capital investment'. While much  of my discussion in this chapter
           would reinforce the first part of his claim - that making audience
            interpretation the analytic focus is not conducive to extending our
           grasp  of macro-dynamics  - it  is  surely  not the  case  that  such
           dynamics are 'fundamentally' of the material and economic form
            that he then proposes. Certainly the apparatus of global capitalism
            is significant in understanding macro-processes at work in modern
            media; but so too is a variety of other, non-economic features of the
           ways in which our social lives are systematically structured. If the
            critical cultural studies paradigm has indeed been lost, return to a
           version of the reductionism that flawed it in the first place is not an
            ideal  strategy to  bring  about  its resurrection.  As  a disconsolate
            Curran  (1990: 158)  himself observes at the end of his discussion,





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