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1、by T.Adorno from The Culture Industry: Selected Essays on Mass Culture London: Routledge, 1991 The term culture industry was perhaps used for the first time in the book Dialectic of Enlightenment, which Horkheimer and I published in Amsterdam in 1947. In our drafts we spoke of mass culture. We repla
2、ced that expression with culture industry in order to exclude from the outset the interpretation agreeable to its advocates: that it is a matter of something like a culture that arises spontaneously from the masses themselves, the contemporary form of popular art. From the latter the culture industr
3、y must be distinguished in the extreme. The culture industry fuses the old and familiar into a new quality. In all its branches, products which are tailored for consumption by masses, and which to a great extent determine the nature of that consumption, are manufactured more or less according to pla
4、n. The individual branches are similar in structure or at least fit into each other, ordering themselves into a system almost without a gap. This is made possible by contemporary technical capabilities as well as by economic and administrative concentration. The culture industry intentionally integr
5、ates its consumers from above. To the detriment of both it forces together the spheres of high and low art, separated for thousands of years. The seriousness of high art is destroyed in speculation about its efficacy; the seriousness of the lower perishes with the civilizational constraints imposed
6、on the rebellious resistance inherent within it as long as social control was not yet total. Thus, although the culture industry undeniably speculates on the conscious and unconscious state of the millions towards which it is directed, the masses are not primary, but secondary, they are an object of
7、 calculation; an appendage of the machinery. The customer is not king, as the culture industry would have us believe, not its subject but its object.The very word mass-media, specially honed for the culture industry, already shifts the accent onto harmless terrain. Neither is it a question of primar
8、y concern for the masses, nor of the techniques of communication as such, but of the spirit which sufllates them, their masters voice. The culture industry misuses its concern for the masses in order to duplicate, reinforce and strengthen their mentality, which it presumes is given and unchangeable.
9、 How this mentality might be changed is excluded throughout. The masses are not the measure but the ideology of the culture industry, even though the culture industry itself could scarcely exist without adapting to the masses. The cultural commodities of the industry are governed, as Brecht and Suhr
10、kamp expressed it thirty years ago, by the principle of their realization as value, and not by their own specific content and harmonious formation. The entire practice of the culture industry transfers the profit motive naked onto cultural forms. Ever since these cultural forms first began to earn a
11、 living for their creators as commodities in the market-place they had already possessed something of this quality. But then they sought after profit only indirectly, over and above their autonomous essence. New on the part of the culture industry is the direct and undisguised primacy of a precisely
12、 and thoroughly calculated efficacy in its most typical products. The autonomy of works of art, which of course rarely ever predominated in an entirely pure form, and was always permeated by a constellation of effects, is tendentially eliminated by the culture industry, with or without the conscious
13、 will of those in control. The latter include both those who carry out directives as well as those who hold the power. In economic terms they are or were in search of new opportunities for the realization of capital in the most economically developed countries. The old opportunities became increasin
14、gly more precarious as a result of the same concentration process which alone makes the culture industry possible as an omnipresent phenomenon. Culture, in the true sense, did not simply accommodate itself to human beings; but it always simultaneously raised a protest against the petrified relations
15、 under which they lived, thereby honoring them. In so far as culture becomes wholly assimilated to and integrated in those petrified relations, human beings are once more debased. Cultural entities typical of the culture industry are no longer also commodities, they are commodities through and throu
16、gh. This quantitative shift is so great that it calls forth entirely new phenomena. Ultimately, the culture industry no longer even needs to directly pursue everywhere the profit interests from which it originated. These interests have become objectified in its ideology and have even made themselves
17、 independent of the compulsion to sell the cultural commodities which must be swallowed anyway. The culture industry turns into public relations, the manufacturing of goodwill per se, without regard for particular firms or saleable objects. Brought to bear is a general uncritical consensus, advertis
18、ements produced for the world, so that each product of the culture industry becomes its own advertisement. Nevertheless, those characteristics which originally stamped the transformation of literature into a commodity are maintained in this process. More than anything in the world, the culture indus
19、try has its ontology, a scaffolding of rigidly conservative basic categories which can be gleaned, for example, from the commercial English novels of the late seventeenth and early eighteenth centuries. What parades as progress in the culture industry, as the incessantly new which it offers up, rema
20、ins the disguise for an eternal sameness; everywhere the changes mask a skeleton which has changed just as little as the profit motive itself since the time it first gained its predominance over culture. Thus, the expression industry is not to be taken too literally. It refers to the standardization
21、 of the thing itself - such as that of the Western, familiar to every movie-goer - and to the rationalization of distribution techniques, but not strictly to the production process. Although in film, the central sector of the culture industry, the production process resembles technical modes of oper
22、ation in the extensive division of labor, the employment of machines and the separation of the laborers from the means of production -expressed in the perennial conflict between artists active in the culture industry and those who control it - individual forms of production are nevertheless maintain
23、ed. Each product affects an individual air; individuality itself serves to reinforce ideology, in so far as the illusion is conjured up that the completely reified and mediated is a sanctuary from immediacy and life. Now, as ever, the culture industry exists in the service of third persons, maintain
24、ing its affinity to the declining circulation process of capital, to the commerce from which it came into being. Its ideology above all makes use of the star system, borrowed from individualistic art and its commercial exploitation. The more dehumanized its methods of operation and content, the more
25、 diligently and successfully the culture industry propagates supposedly great personalities and operates with heart-throbs. It is industrial more in a sociological sense, in the incorporation of industrial forms of organization even when nothing is manufactured as in the rationalization of office wo
26、rk - rather than in the sense of anything really and actually produced by technological rationality. Accordingly, the misinvestments of the culture industry are considerable, throwing those branches rendered obsolete by new techniques into crises, which seldom lead to changes for the better. The con
27、cept of technique in the culture industry is only in name identical with technique in works of art. In the latter, technique is concerned with the internal organization of the object itself, with its inner logic. In contrast, the technique of the culture industry is, from the beginning, one of distr
28、ibution and mechanical reproduction, and therefore always remains external to its object. The culture industry finds ideological support precisely in so far as it carefully shields it-self from the full potential of the techniques contained in its pro-ducts. It lives parasitically from the extra-art
29、istic technique of the material production of goods, without regard for the obligation to the internal artistic whole implied by its functionality (Sachlichkeit), but also without concern for the laws of form demanded by aesthetic autonomy. The result for the physiognomy of the culture industry is e
30、ssentially a mixture of streamlining, photographic hardness and precision on the one hand, and individualistic residues, sentimentality and an already rationally disposed and adapted romanticism on the other. Adopting Benjamins designation of the traditional work of art by the concept of aura, the p
31、resence of that which is not present, the culture industry is defined by the fact that it does not strictly counterpose another principle to that of aura, but rather by the fact that it conserves the decaying aura as a foggy mist. By this means the culture industry betrays its own ideological abuses
32、. It has recently become customary among cultural officials as well as sociologists to warn against underestimating the culture industry while pointing to its great importance for the development of the consciousness of its consumers. It is to be taken seriously, without cultured snobbism. In actual
33、ity the culture industry is important as a moment of the spirit which dominates today. Whoever ignores its influence out of skepticism for what it stuffs into people would be na?ve. Yet there is a deceptive glitter about the admonition to take it seriously. Because of its social role, disturbing que
34、stions about its quality, about truth or untruth, and about the aesthetic niveau of the culture industrys emissions are repressed, or at least excluded from the so-called sociology of communications. The critic is accused of taking refuge in arrogant esoterica. It would be advisable first to indicat
35、e the double meaning of importance that slowly worms its way in unnoticed. Even if it touches the lives of innumerable people, the function of something is no guarantee of its particular quality. The blending of aesthetics with its residual communicative aspects leads art, as a social phenomenon, no
36、t to its rightful position in opposition to alleged artistic snobbism, but rather in a variety of ways to the defense of its baneful social consequences. The importance of the culture industry in the spiritual constitution of the masses is no dispensation for reflection on its objective legitimation
37、, its essential being, least of all by a science which thinks itself pragmatic. On the contrary: such reflection becomes necessary precisely for this reason. To take the culture industry as seriously as its unquestioned role demands, means to take it seriously critically, and not to cower in the fac
38、e of its monopolistic character. Among those intellectuals anxious to reconcile themselves with the phenomenon and eager to find a common formula to express both their reservations against it and their respect for its power, a tone of ironic toleration prevails unless they have already created a new
39、 mythos of the twentieth century from the imposed regression. After all, those intellectuals maintain, everyone knows what pocket novels, films off the rack, family television shows rolled out into serials and hit parades, advice to the lovelorn and horoscope columns are all about. All of this, howe
40、ver, is harmless and, according to them, even democratic since it responds to a demand, albeit a stimulated one. It also bestows all kinds of blessings, they point out, for example, through the dissemination of information, advice and stress reducing patterns of behavior. Of course, as every sociolo
41、gical study measuring something as elementary as how politically informed the public is has proven, the information is meager or indifferent. Moreover, the advice to be gained from manifestations of the culture industry is vacuous, banal or worse, and the behavior patterns are shamelessly conformist
42、. The two-faced irony in the relationship of servile intellectuals to the culture industry is not restricted to them alone. It may also be supposed that the consciousness of the consumers themselves is split between the prescribed fun which is supplied to them by the culture industry and a not parti
43、cularly well-hidden doubt about its blessings. The phrase, the world wants to be deceived, has become truer than had ever been intended. People are not only, as the saying goes, falling for the swindle; if it guarantees them even the most fleeting gratification they desire a deception which is nonet
44、heless transparent to them. They force their eyes shut and voice approval, in a kind of self-loathing, for what is meted out to them, knowing fully the purpose for which it is manufactured. Without admitting it they sense that their lives would be completely intolerable as soon as they no longer clu
45、ng to satisfactions which are none at all. The most ambitious defense of the culture industry today celebrates its spirit, which might be safely called ideology, as an ordering factor. In a supposedly chaotic world it provides human beings with something like standards for orientation, and that alon
46、e seems worthy of approval. However, what its defenders imagine is preserved by the culture industry is in fact all the more thoroughly destroyed by it. The color film demolishes the genial old tavern to a greater extent than bombs ever could: the film exterminates its imago. No homeland can survive
47、 being processed by the films which celebrate it, and which thereby turn the unique character on which it thrives into an interchangeable sameness. That which legitimately could be called culture attempted, as an expression of suffering and contradiction, to maintain a grasp on the idea of the good
48、life. Culture cannot represent either that which merely exists or the conventional and no longer binding categories of order which the culture industry drapes over the idea of the good life as if existing reality were the good life, and as if those categories were its true measure. If the response o
49、f the culture industrys representatives is that it does not deliver art at all, this is itself the ideology with which they evade responsibility for that from which the business lives. No misdeed is ever righted by explaining it as such. The appeal to order alone, without concrete specificity, is futile; the appeal to the dissemination of norms, without these ever proving themselves in reality or before consciousness, is equally futile. The idea of an objectively binding order, huckstered to people because it is so lacking for them, has no claims if it d