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W h a t is Popular Culture?
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Before we consider in detail the different ways in which popular culture has been
defined and analyzed, I want to outline some of the general features of the debate
which the study of popular culture has generated. It is not my intention to pre-empt
the specific findings and arguments which will be presented in the following chapters.
Here I simply wish to map out the general conceptual landscape of popular culture.
This is, in many ways, a daunting task. As Tony Bennett points out, 'as it stands,
the concept of popular culture is virtually useless, a melting pot of confused and
contradictory meanings capable of misdirecting inquiry up any number of theorrtical blind alleys'.' Part of the difficulty stems from the implied otherness which is
always absendpresent when we use the term 'popular culture'. As we shall see in
the chapters which follow, popular culture is always defined, implicitly or explicitly, in conuast to other conceptual categories: folk culture, mass culme, dominant
culture, working-class culture, etc. A full definition must always take this into
account. Moreover, as we shall also see, whichever conceptual category is deployed
as popular culture's absentlpresent other, it will always powerfully affect the connotations brought into play when we use the term 'popular culture'.
Therefore, to study popular culture we must first confront the difficulty posed by
the term itself. That is, 'depending on how it is used, quite different areas of inquiry
and forms of theoretical definition and analytical focus are suggested'." The main
argument which 1 suspect readers will take from this hook is that popular culture
is in effect an empty conceptual category, one which can be filled in a wide variety
of often conflicting ways, depending on the context of use.
Culture
In order to define popular culture we h t need to deiine the term 'culture'. Raymond
Wllliams calls culture 'one of the two or three most complicated words in the
English language'.' Wllllams suggests three broad defimtions. First of all, culture
can be used to refer to 'a general process of lnteuectual, spiritual and aesthetic
W/,at i s l'opcrtor
16
Cuiture?
Day, Gary (ed.), Readings hi I'oprrlnr (:ulti.irc, Lonilon: ~Vlacmillan,1990. A mixed collccrion of essays, romp inteicsting and useiol, nrhc~.stilo unsure abimr how seriously to take
poprrlar culture.
Du Gay, Paul, Stuart Hall, Llnda Jancs, Hugh Mackay and Keith Negor, Doing Cultural
Siudies: The Story of the Sony Wlilbi??an,London: Sagc, 1997. Ail cxcellcnr ilitroducrio<~
to sornc oi thc key issues in culti~ralsrildies. Worth reading for the explanation of 'the
circuit of ciilruie'.
Fiskc, Jnhn, Underitonding Pop2*liir-Culture, London: (inwin Hyman, 1989. A clear presenration of his particular approach to the study o f popular cnlture.
Fiskr, John, Reoding the Popular, 1.ondon: Unwin Hyrnan. 1989. A collection of essays
Indianapolis: Indiana University Press, 1991. A useful and interesting collection of essays
on cultural theory and popular culture.
Strinati, Dominic, A n Introd~ictronto Theories of Popular Cultidre, London: Routledge,
1995. A clear and comprehensive introduction to theories of popular culture.
Tolson, Andrew, Mediations: Text and discoullre in media s t u d i ~ rLondon:
,
Edward Arnold,
1996. An excellent introduction to the study of popular media culture.
Turner, Graerne, British Culturn1 Studies, 2nd edn, London: Routledge, 1996. Still the best
inrroduction ro British cultural studies.
Notes
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. .\, .<
K) :',I,
What is P o p u l a r Culture?
1. Tony Bennett, 'Popular culture: a teaching objcct', Screen Edrrcotion, 34, 1980, p. 18.
2. Ihid., p. 20.
3. Raymond Williams, Keywords, London: Fontaaa, 1983, p. 87.
4. Ibid., p. 90.
5. Ihid.
6. Ihid.
7. Craeme Turner, British Cultui.al Studies: An introduction, 2nd edn, London: Routledge,
1996, p. 182.
8. James W. Carey, 'Overcoming resisrance to cultural studies', in W'hat Is Cultural Studies: A Render, edited by John Storcy, London: Edward Arnold, 1996, p. 65.
9. Stuarr Hall, 'Some paradigms in cultural studies', Annali, 3, 1978, p. 23.
10. See Karl Marx and Frederick Engels, The German Ideology (srudenr edirion), edited and
introduced by C. J. Arthur, London: Lawrcncc & Wishart, 1974.
11. I<arl Maia: 'Preface' and 'Introduction' to a Contribution to the Critique of Politicdl
Economy, Peking: Foreign Languages I'ress, 1976, p. 3.
12. Tony Bcnnen, 'Popular culture: defining nur terms', in Popular Culture: Themes rind
isscres 1 , Milron Keynes: Open University Press, 1982, p. 81.
13. Marr, 'Preface' and 'Inrroducrion' to a Contribution to the Critique of Polit;cal Economy,
p. 5.
14. Bertolr Brechr, On Theatre, rianslatsd by John Willert, London: Methuen, 1978,
pp. 1.70-1.
Notes
198
1.5. Srual-r Mall, 'The rediscovery of ideologu: rhc i-ctu)~,01 the rcpl.rsscd in media studics',
in Subjcctiuity nnd .Sociul RcIairoi?s, cdired by Vcronica Berches and James Donald,
Milron I<eynes: Open University Press, 1985, p. 36.
16. See Stuart Hall, 'Notcs on dcco~~srrucri~ig
"the pi>pt~lal-"',in Cultural Ti,eory and PI>/I~,/OF
Culture: A Reodcr, 2nd cdn, edircd hy John Storey, Hemel Hempsread: Prenticc Hall,
I9YX.
Ibid., p. 46.
Ibid., p. 48.
Ibid., p. 89.
Ibid., p. 179.
Ibid., p. 31.
Ibid., p. 163.
Ibid., pp. 163-4.
Ibid., p. 163.
Ibid., p. 76.
Ibid., p. 69.
Ibid., p. 76.
Ibid., p. 193.
15. Ibid., pp. 80-1.