The Production of Culture
SAGE, 14.05.1992 - 198 Seiten
How does the media shape and frame culture? How does media entertainment vary under different conditions of production and consumption? What types of meanings and ideologies do these modes of production convey and how do they change over time? How does media culture differ from other forms of recorded culture produced in nonindustrial settings? In The Production of Culture, the inaugural volume in the new Foundations of Popular Culture, Diana Crane argues that these are the kinds of questions with which social scientists should be concerned. She contends that recorded cultures simply cannot be understood apart from the contexts in which they are produced and consumed. A review and synthesis of the current media literature, Crane's work examines both the popular and elite levels of media production. This investigation allows readers to understand how the notion of production can change depending on the size of the audience and or the structure of the cultural industry.
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Chapter 1 Introduction
Chapter 2 The Media Culture Paradigm
Audiences in MediaSaturated Societies
Chapter 4 The Production of Culture in National Culture Industries
Chapter 5 Approaches to the Analysis of Meaning in Media Culture
Culture Organizations and Urban Arts Culture
Chapter 7 Media Culture Urban Arts Culture and Government Policy
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According activities advertising aesthetic American society argues artists audience avant-garde best-selling Broadway theater cable changes characteristics characters conglomerates consumer contemporary core corporations country music created creators cultural arena cultural organizations cultural products define demographic DiMaggio disseminated economic effects elite experimental music film industry forms of culture gatekeepers genre global culture high culture horror film impact important increasing increasingly influence innovation interpret jazz lifestyles mass media means media culture middle-class museums musicians national culture industries network-oriented culture worlds networks nonprofit novels oligopoly particular perform period peripheral political popular culture popular music population programs Reception theory record companies recorded culture rock music role romance novels segments sitcom soap operas social class social groups specific structure style subcultures success symphony orchestras tastes television tend theaters tion types of culture urban arts urban cultures values viewers World countries