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The term culture industry (German: Kulturindustrie) was coined by the critical theorists Theodor Adorno (1903–1969) and Max Horkheimer (1895–1973), and was presented as critical vocabulary in the chapter "The Culture Industry: Enlightenment as Mass Deception", [1] of the book Dialectic of Enlightenment (1947), wherein they proposed that popular culture is akin to a factory producing ...
Culture Industry Reconsidered (German: Résumé über Kulturindustrie) was written in 1963 by Theodor W. Adorno, a German philosopher who belonged to the Frankfurt School of social theory. The term "cultural industry" first appeared in Dialectic of Enlightenment (1947), written by Adorno and Max Horkheimer .
Adorno saw the culture industry as an arena in which critical tendencies or potentialities were eliminated. He argued that the culture industry, which produced and circulated cultural commodities through the mass media, manipulated the population.
Together with Adorno's The Authoritarian Personality (1950) and fellow Frankfurt School member Herbert Marcuse's One-Dimensional Man (1964), it has had a major effect on 20th-century philosophy, sociology, culture, and politics, especially inspiring the New Left of the 1960s and 1970s. [4]
Adorno's work has had a large impact on cultural criticism, particularly through Adorno's analysis of popular culture and the culture industry. [10] Adorno's account of dialectics has influenced Joel Kovel, [11] the sociologist and philosopher John Holloway, the anarcho-primitivist philosopher John Zerzan, [12] the sociologist Boike Rehbein, [13] and the Austrian musicologist Sebastian Wedler.
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For instance, Adorno (a trained classical pianist) polemicized against popular music because it had become part of the culture industry of advanced capitalist society and the false consciousness that contributes to social domination. He argued that radical art and music may preserve the truth by capturing the reality of human suffering.
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