جستجوی مقالات مرتبط با کلیدواژه "صنعت فرهنگ" در نشریات گروه "علوم اجتماعی"

Paying attention to the negative effects of the culture industry is among the principles of critical aesthetics of Frankfurt School. Culture industry eliminates one's creativity and individualism through their assimilation. In this documentary research that was conducted using a descriptive-analytical approach, the first five books of Simin Behbahani, including Jay-e Pa (Footprints), Chelcheraq (Chandelier), Mar Mar (Marble), Rastakhiz (Resurrection), and Khatee ze Sorat va az Atash (A Trajectory of Speed and Fire), were analyzed from the critical aesthetics perspective. The results of this research showed that besides depicting the life narration of the persons such as the dancer, the prostitute, the employee, and the rich man as some manifestations of the culture industry like beauty industry and entertainment industry in her poems, Simin Behbahani has represented reification as the consequence of the culture industry in the form of gender reification and administrative reification. Regarding the form area, Behbahani is, at first, an imitator by following the literary tradition, but she has liberated her art from imitation and entered the creative art area by bringing a manifesto in Khatee ze Sorat va az Atash manuscript and using the unprecedented and rare weights in Persian poetry. It can be said that her poem is an authentic one and complies with the principles of Frankfurt School. This way, Behbahani has, in fact, criticized the consequences of the culture industry by negating the status quo and presenting an indictment against the established rhyme.

The Frankfurt School and specifically, its pioneers such as Max Horkheimer and Theodor Adorno, while theoretical commitment to Marxists, but due to the studies they had on the views of Max Weber, Sigmund Freud and Hegel, they paid more attention to superstructure institutions such as culture than the classical Marxists. they did. Hence, they recognized that what caused the failure of Marx's predictions in the occurrence of political and social revolutions in powerful capitalist countries such as England, Germany, and France was the capitalist's resort to tricks such as the use of cultural industries to divert The working class was about realizing self-awareness in them and carrying out the revolution. Through mass communication media, these societies publish a kind of low-level and degrading culture that lowers the audience's taste, as a result of which their high-level thinking and activism turn into low-level and worthless behaviors. For example, according to Adorno, in classical music, it is innovation, the listener's mind is deepened, but in pop music, it is just repetition. According to the main members of the Frankfurt School, especially Aderno and Horkheimer, the audience of the mass communication media is passive, impressionable and lacks the ability to resist the domination of the government and the dominant class. Another characteristic of the Frankfurt school is their criticism of positivists. They believe that the methods of experimental sciences do not have the ability to analyze and deepen social phenomena, although this was not absolute among the members of the Frankfurt School, and in some cases they used positivist methods. In a book called Dialectic of Enlightenment, Adorno and Horkheimer talk in detail about the culture industry and pop music and the ways in which this music can distract minds from addressing important issues such as deep political and social issues. But while they clearly define the nature and nature of domination in capitalist systems, they only pay attention to the sender and the intentions of the sender of the message and consider the receiver of the message to be completely passive and effective. But the Birmingham School of Cultural Studies, while being critical of contemporary societies and the dominance of capitalism, offers a more subtle analysis of the relationship between the media and the audience and the audience with the media. Birmingham School of Cultural Studies is multidisciplinary in nature and is influenced by sciences such as sociology, communication, psychology, language and literature, etc. On the one hand, this school is strongly influenced by the thoughts of Antoni Gramsci, the Italian neo-Marxist philosopher. In the theory of hegemony, Gramsci believes that the state and the capitalist system, not only through direct domination such as the use of force through coercive forces, but through the production and reproduction of a type of culture that creates citizenship in citizens and especially the inner working class. does, continues to survive. This culture is internalized by the civil society institutions such as family, school, church and mass communication media in the people of the society and especially the working class and it keeps them away from the revolution. But the thinkers of the Birmingham School of Cultural Studies, while accepting this Gramsci theory, also believe in the resistance of the society. Stuart Hall, who is one of the pioneers of this school in the theory of encryption and decryption, believes that while the media serve the domination system and have hegemonic goals, what they intend is not always influenced by the audience. Audiences are not necessarily passive and depending on their individual, psychological, cultural and social environment, they may decode media messages in a different way. For example, the Islamic Republic of Iran Radio and Television may talk about the legitimacy of Russia's attack on Ukraine in its news messages, but some audiences may not decipher the message as intended by the media, considering their previous cultural and political backgrounds. Do not give the right to Russia. Another researcher of the Birmingham school is Dick Hebdaij. Hebdaij refers to subcultural resistance. In the research he conducted on working class youth in England, he found out that these youth use the messages of mass media such as pop and rock music in the direction of their desires and to protest against the ruling system. they give. They intelligently and purposefully mix popular culture products with their dissenting thoughts and use them as a tool to express their protest against the government and the capitalist system. Based on this theoretical approach of Hebdaij, young people in Iran who use special clothes to cover themselves, listen to special music and use special dialects in order to resist the ruling system, these behaviors They do. Finally, it should be said that although the theoretical approach of the Frankfurt school, and specifically, Adorno and Horkheimer, is accurate and meticulous in identifying the nature of the capitalist system and the methods of exercising its domination, but it seems that this school is a place for the resistance of the audience in Compared to mass communication media, it has not left and assumed the audience to be too passive. On the other hand, the Birmingham school, while accepting the existence of domination in contemporary societies, also acknowledges the existence of a subtle form of resistance by the audience.

There are many attitudes towards popular culture. One movement, led by Mathew Arnold, rejects popular culture because it is the culture of working class and will lead to chaos if it is not controlled by the elite. Frankfurt School thinkers also reject popular culture because it is produced by culture industry and imposed on the working class by the capitalist system. The other approach which is based on consensus is inspired by Antonio Gramsci: people are not only made by culture hut also make culture. Postmodernism is another attitude which embraces popular culture. Postmodern thinkers see popular culture as a means of resistance against the status quo. The present study reviews The Window by Fahimeh Rahimi as an example of popular fiction which is deeply influenced by the Victorian literature. Focusing on the dominant sentimentalism of the novel, its stock characters and pretentious language, the dominance of chance in the plot, the unjustified use supernatural elements, repetition and the bourgeois morality of the novel, the study uses the argument of the thinkers of Frankfurt school to show that the novel does not represent a resistance against the ruling system, but invites the reader to accept the status quo by propounding bourgeois morality.

This study aimed to investigate the role of the culture industry and the knowledge industry on the tendency toward sports. The Grounded Theory (GT) method was used in this study. The statistical population consisted of two groups of elites in the fields of sociology, sociology of sports, media and education, as well as the youth of Bandar Abbas. The in-depth and unstructured interview technique was employed in the qualitative part, while a quantitative researcher-made 42-item questionnaire was utilized in the quantitative part. The results in the qualitative part were analyzed through open, axial and selective coding and the concepts were identified based on which a researcher-made questionnaire was developed. The results were analyzed using the Kaiser-Meyer-Olkin (KMO) test and Friedman test. According to the findings, exercise motivation was categorized into three indicators, namely physical and mental health, quality of life, and leisure and pleasure; the knowledge industry was categorized into three indicators, namely education, introduction of sports, and scientific-sports contents; and the culture industry was categorized into five indicators, namely radio sports programs, virtual sports pages, sports press, documents and interviews of athletes on TV, and television sports programs and competitions.Conflict of interest: According to the authors, the article did not have any conflict of interest.

The theory of the culture industry as one of the most important philosophical views of the philosophers of Frankfurt School philosophers has been considered with The focus on the concept of commodification of Art in the production of art works and the superficiality of culture versus elite and sublime art and culture. from this point of view, the emerging forms of popular Music as an example of worthless cultural goods were able to dominate the life of the mass; hence, any attempt for rationality within a class of people who, according to adorno, are a classless society, will be failed. what is considered as the main subject of the present research is the impact analysis of culture industry theory on Iranian Music in various aspects, including Iranian Music, as well as the growing influence of popular culture on Iranian Music rows which during 60s and under the influence of Neo Marxists has increased in iran. Also, in the present study, an attempt has been made of present a structured analysis of the culture industry theory in the process of commodification in popular Iranian Music, through which aspects such as standardization and mass production of art works under the influence of mass media and market domination system are considered.

In recent years, we have witnessed changes in the radio and television networks of the Islamic Republic of Iran, developments that are influenced by various factors that have been able to attract the audience in a different way with various solutions; ; Hence, what can be seen is that luck in the media has increased so much that it can be attributed to the culture of luck. Therefore, considering the abundance of this culture in the national media and its promotion in the national radio and television and attracting the audience, as well as increasing the economic, political and psychological consequences of this issue; It was necessary to study a study with the aim of analyzing the approach of the national media in promoting the culture of luck in society and also to examine the consequences of this media policy for the people from different aspects.

Culture Industry & Television in Iran; Critical Analysis of “Mahe Asal (honey moon)” Program This paper is to analyze the Television of Islamic Republic of Iran (IRIB), based on the approach of culture industry theory. On the literature review, the approach of Frankfurt School toward modern capitalism, culture industry theory and their approach toward mass media, specially television has been described. The case study of the research is “Mahe Asal (honey moon)” Program which has been broadcasted during 2013 to 2018. To analyze the program by applying the theoretical or purposive sampling, the episodes of the mentioned program have been analyzed by qualitative content analysis. The main results of research include: misreporting the real needs (individualizing the structural problems), making the rationality instrumental, declining the human to the object level to achieve the goal, propagation of compromise and deferring to the economic situation (hailing and sentimentalizing the poverty) and commercializing the ethic and religious values to achieve the profit. The mentioned categories have been critically interpreted. The research results show that considering the spread of neoliberal and capitalism values in Iranian society and economy, the television despite alleging to criticize capitalism, but in fact is integrated with capitalism and consumerism values.

e idea that the basis of social totality can be analyzed in the image as the seemingly trivial matter of the partial totality, this study examines the status of religion in contemporary Iran in the context of cinema. The main focus and approach in this article is on the critical views of the Frankfurt School on culture and cinema. To this end, one of the most beloved religious films of recent years has been analyzed with a view to the Frankfurt School's views on culture and the media, as well as to the critical approach of "critical discourse analysis" in language. Therefore, after an analytical overview of Adorno and Benjamin's views on the culture and cinema industry and considering that in the Critical Discourse of Critical Discourse Analysis, discourse analysis alone is not capable of analyzing wider social practice and requires social theory, Video analysis is used. Describing, interpreting, and explaining the text of the Sabr-Mehr film, the three levels of textual and discursive practice and social practice have been used by Falklaf. One of the major results of the research is the dominance of commodity logic in religious films in particular, and the perception of religion in general, in the cultural industries

There are two opinions on the encounter of Iranians with veiling, specially women`s veiling (Hijab-e zanan) that has superficially contradiction. The first, resistance of Muslim Iranians to forcing unveiling (kashf-e hejab) in Reza Pahlavi`s monarchy and the second, according to some opinions, reaction of Iranians to the forcing veiling or law of veiling in Islamic Republic era. In the first era, under the influence of policies of aggressive western modernization of Reza Pahlavi, unveiling is "the force" and in the second era, veiling is so. However, between two periods, there is 37 year old era of Mohammad Reza Pahlavi that has less analyzed, despite of continuity of forcing unveiling`s policies. Unlike to Reza Pahlavi`s era, forcing of unveiling not only wasn’t directly in social reality, but also was through extending media`s pictures and influencing on unconscious mind of social actors. Furthermore, since of 1340s, these policies has been related to capitalist development. In the article, "the picture of unveiling" has used to characterize the pictorial feature. In the West, the unveiling picture of men or women`s organs has extended under the development of music and cinema`s industry after world war II. In the before periods, showing of pictures of unveiling of men or women`s organs had limited or at least, wasn’t symbols of modernity, progress and personality. In the article, the critical theory of Frankfort school and methodological framework culture industry has used to study the condition of picture of unveiling and influence of M.R. Pahlavi`s policies on it. In the conclusion has been expressed that firstly, the attention to pictorial feature of unveiling that began from M.R. Pahlavi`s era can explain superficial contradiction of two opinions on Iranians reaction to veiling and secondly, due to the continuity of media`s pictures to Islamic republic era, we has pointed to necessity of other researches on contrast of unveiling picture-veiling picture in the era.

Girls’ tendency to be like a Mannequin and to manipulate their apparent characteristics and to constructs their social body is of the consequences of consumer community, one of the reasons of which is that they regard their childhood dolls as their models. Since young girls are more concerned about their bodies and typically have regarded their childhood Barbie dolls as their models, they are influenced by the culture of Barbies i.e. Mannequinism. The purpose of this research is to investigate the effects of Barbie dolls, among other factors such as family, social and media, on Girl's tendency toward Mannequinism. In doing so a survey was conducted using questionnaire in a sample size of 335 people. The random sampling method was used and the used theoretical framework was culture industry theory and rethinking theory. In general, findings show that childhood dolls, especially Barbie which has the face and body of a young girl for which many industries have been advertising, provide a model for girl that, during her adolescence and youth, she will try to match with it.

The purpose of this article is to study musical politics in the IRIB. In the introduction, the importance of music as a part of popular culture and its role in everyday life has been outlined; also the music relation with the mass media, which forms a part of the social structure and experiences of everyday life has been studied. In the theoretical part, there is an attempt to combine theories in the field of culture and media as well as the concept of music as a social fact to achieve a better perception of the various aspects of the music policy in the media. This research has been carried out through qualitative method and depth interview technique with ten experts in IRIB. According to the results, the organization's definition of music affects its policy making. This definition is included by factors such as religious culture, political power, the organization definition of the audience, and the combination of music with the concept of national media. According to the organization's definition of music, Instinct music, natural music, media music, and functional music are the categories of the concept of music. Thus, music is the communication and power tool, and musical concepts like pleasure, leisure, and audience are defined by the political and hegemonic status of the IRIB. These definitions are constantly exposed to the external and internal challenges of the organization and are changing all the time. Ultimately, the policy of music is made based on these challenges, as well as policies and criteria formed in the context of ideology and culture.

According to critical theory, particularly that of Theodor Adorno, “culture industry” is the mechanism of an exciting move from the harsh hardcore of power to its soft layers (permeability). Relying on Michel Foucault’s theory of power, mechanism of power shift and turn is towards hegemony. The coining of this concept by Adorno and his understanding of this concept is in line with the emergence of the discourse of cultural policy in the post-war era which tries to protect the realm of culture and arts from the harmful and undesirable impacts of commercialization by more involvement of the market. Descriptive-analytical method has been used based on an analysis of Policy Document of the Department of Cultural Policy Research and Development of European Council (1999). Attempts have been made in this article to study the encounter between cultural policymaking and critical problematic of culture industry. This issue is put forth through conceptual transition from culture industry to cultural industries and more recently creative industries in the context of dual cultural policies: democratization of culture and cultural democracy.

The theoretical basis of alternative media is the anti-hegemonic concept of (the Italian Marxist theoretician and politician Antonio) Gramsci and the concept of culture industry of the Frankfurt School. With these concepts, they criticize the function of the mass media, the main current in distribution and reinforcement of capitalistic thoughts and capitalistic hegemony in the society. The mainstream media are ideological, hegemonic and non-critical media which act to preserve the capitalistic system and strengthen globalization and cultural imperialism project. The alternative media are defined as opposed to the mainstream media. The objective of alternative media is to challenge forms of capitalism dominant in the fields of media products, media structure, as well as media content, distribution and reception. These media deal with subjects such as social movements, post-Marxist approaches and new political demands. The alternative media are not known in the theoretical literature of communication and media atmosphere of the country and Iran’s political and media institutions do not have clear policies to use them in media diplomacy. While reviewing the theoretical dimensions of alternative media, this study presents approaches to use the alternative media in media diplomacy. The alternative media are considered an opportunity for the media system of the country, which can use this potential to represent itself and to manage the public opinion of other societies.

This essay is an attempt to explore “success discourse” in educational system in Iran. The consequence of “success discourse” is a phenomenon I have called “Education Industry” following Theodore Adorno’s “Cultural Industry. In particular, I aim to address two questions related to the above mentioned “success discourse”. First, how success can be evaluated, and second, how social goals can be achieved based on the success. To provide an answer to these questions I have conducted a study on educational process. The results indicate that the mentioned “success discourse” is widespread among schools educational management and some fundamental problems are emerged accordingly. Firstly, major attention to natural sciences like mathematics, chemistry and the like, and minor attention to human sciences has resulted in the number of physicians and engineers outnumber humanities and art thinkers. Secondly, the arts and entertainment are deleted or neglected by the school program managers. Thirdly, as a result of this discourse the students look to result more than the learning as a process. Thus they don’t learn how, just learn what. Their experiences cannot be rich and they don’t understand the issues in their holistic form. In this condition, some profit-driven centers, in the name of educational activities, try to replace the national education system, while they don’t add much value to the learning process.

The elaboration of culture industry by theodor W. Adorno and Max Horkheimer- co- authors of Dialektik der Aufklarung (Dixlectic of Enlightment) - is grounded on their account of how the identity – based instrumental reason of enlightenment (Aufklarung)، thought intended to secure freedom from fear of mythical authorities، could turn into the political، social and cultural totalitarian domination، depriving humans of their individual freedom and creativity and reifying both society and individuals. As Adorno and Horkheimer put، the culture producing media، thanks to technical mass reproduction، in the late capitalism، functions as pre- determining schematism of the whole cultural products through standardizing all varieties and diversities in such a way that obedience can be confused with freedom. Thus، in the system of exchange value، culture industry makes any object into commodity، whether being economical or cultural. This paper is a version of how Adorno and Horkheimer justify this disastrous suppression which through atomizing process levels down all humans and their tastes and creativities. Meanwhile، the essay has a brief critical assessment of this so called doctrine.

The present descriptive research aims to examine the relationship between the two variables of “media” and “audience/actors pattern of consumption” in the society. To this aim, the study answers a number of questions including: Do media merely reflect the audience’s needs or do they play a key role in production and reproduction of these needs? On the other hand, how do the audience’s needs affect the media content? Reviewing the existing theoretical approaches to the media impacts on the audience/actor’s pattern of consumption, the present article attempts to introduce a different analytical pattern based on the theory of constructivism in which the consumptive behavior of audience emerges based on his impression of “identity”. In other words, individuals pick up a certain consumptive style based on the notion they have of their own social status and identity. The role of media in defining the status and shaping the identity of the audience is very important. Thus, in the suggested pattern for explaining the relationship between “identity”, “media” and “pattern of consumption”, these three elements form a triangle in which each angle strengthens and influences other angles.

Max Horkheimer in Frankfurt University established Frankfurt school. In addition, famous faces like Theodor Adorno, Herbert Marcuse and Benjamin introduced to the world. Marxism played important role in this theory also critical school criticized society and variety systems of epistemology and its ultimate purpose was to reveal the nature of society. Major criticisms are as follows: to the Marxists, to the positivism, to the sociology, to the modern society. Critical theory was the result of some neo Marxist that were not pleased by economic determinism. Therefore, this theory criticized some attitudes and social life and tried to show power relationship in cultural framework.