The Cultural Industry: An Introduction To Cultural Industries

Introduction to Cultural Industries:

According to UNESCO, Culture industries can be defined as “It is a series of activities in which cultural products and cultural services are produced according to industry standards, reproduced, stored and distributed.”

The idea of cultural industries has been constantly improved. It is branched into two parts now, “academician” and “practician”. Academician usually characterize the cultural industry from “theoretical-ideological” attitude, however, practician usually target the culture industry’s marketability through socio-economic practices, for territorial differences and its quick development, the scope that cultural industry covers is becoming wider, some countries called it, “content industries”,

At pre-industrial era, people initiated material production. In the 20th Century, the material production were at access, then entering the post-industrial era, the industry civilization was exchanged from material production to cultural production. Previously, the manufacturing of popular culture product need very high competence, therefore quantity production was inconceivable. Furthermore, the price was high, so the industry was always controlled by wealthy. However, this kind of cartel was broken on the basis of science and technological development. Cultural products are no longer art works asserting artists, they are assets of mass production for competing people’s artistic needs. In 1947, Theodor Adorno and Max Horkheimes, the representatives of Frankfurt school of thought, used the word of culture industry for the first time to differentiate the mass culture in their book.

Cultural Industry:

The concept of cultural industry was suggested by Theodor Adorno and Max Horkheimes and other experts who are intellectual of Frankfurt school of thoughts. The aspects holding by Adorno in his work is that the cultural industry can deliberately merge itself with customer of all levels. This work illustrate the end of the early critique theory.

Then, Adorno used cultural industry to define the impact of cultural events and cultural products on society. The combined outcome of the cultural industry is

The intensions are to arrange and manage creativity.

Bilton starts his argument by defining the creativity process. According to the writer, creativity must meet to criteria; it must produce something new, and it must produce cerebral property which is profitable or advantageous. Therefore ideas that are “Too far out of the box” are unique but not inevitably valuable. The creativity he sees important is not that which is found with individual but with networks of individuals within organizations. He is not worried with individual progressive activity. The networks are groups of individuals who cooperate as teams and whose members play multiple roles. They “step in and out of character” as they promote new processes or