Popular culture is the entirety of ideas, perspectives, attitudes, memes, images, and
other phenomena that are within the mainstream of a given culture, especially Western culture
of the early to mid 20th century and the emerging global mainstream of the late 20th and early
21st century.
Heavily influenced by mass media, this collection of ideas permeates the everyday lives of the
society.
Popular culture is often viewed as being trivial and "dumbed down" in order to find consensual
acceptance throughout the mainstream.
As a result, it comes under heavy criticism from various non-mainstream sources which
deem it superficial, consumerist, sensationalist, and corrupted.
History and definitions The term "popular culture" was coined in the
19th century or earlier.
Traditionally, the term has denoted the education and general "culturedness" of the lower classes,
as opposed to the "official culture" and higher or the education emanated by the dominant
classes.
The stress in the distinction from "official culture" became more pronounced towards the
end of the 19th century, a usage that became established by the interbellum period.
From the end of World War II, following major cultural and social changes brought by mass
media innovations, the meaning of popular culture began to overlap with those of mass
culture, media culture, image culture, consumer culture, and culture for mass consumption.
Social and cultural changes in the United States were a pioneer in this with respect
to other western countries.
The abbreviated form "pop" for popular, as in pop music, dates from the late 1950s.
Although terms "pop" and "popular" are in some cases used interchangeably, and their
meaning partially overlap, the term "pop" is narrower.
Pop is specific of something containing qualities of mass appeal, while "popular" refers to
what has gained popularity, regardless of its style.
According to John Storey, there are six definitions of popular culture.
The quantitative definition of culture has the problem that much "high culture" is also
"popular".
"Pop culture" is also defined as the culture that is "left over" when we have decided what
high culture is.
However, many works straddle the boundaries, e.g., Shakespeare and Charles Dickens.
A third definition equates pop culture with "mass culture" and ideas.
This is seen as a commercial culture, mass-produced for mass consumption by mass media.
From a Western European perspective, this may be compared to American culture.
Alternatively, "pop culture" can be defined as an "authentic" culture of the people, but
this can be problematic because there are many ways of defining the "people".
Storey argued that there is a political dimension to popular culture; neo-Gramscian hegemony
theory "... sees popular culture as a site of struggle between the 'resistance' of subordinate
groups in society and the forces of 'incorporation' operating in the interests of dominant groups
in society."
A postmodernist approach to popular culture would "no longer recognize the distinction
between high and popular culture".
Storey claims that popular culture emerges from the urbanization of the Industrial Revolution.
Studies of Shakespeare locate much of the characteristic vitality of his drama in its
participation in Renaissance popular culture, while contemporary practitioners like Dario
Fo and John McGrath use popular culture in its Gramscian sense that includes ancient
folk traditions.
Popular culture changes constantly and occurs uniquely in place and time.
It forms currents and eddies, and represents a complex of mutually interdependent perspectives
and values that influence society and its institutions in various ways.
For example, certain currents of pop culture may originate from, a subculture, representing
perspectives with which the mainstream popular culture has only limited familiarity.
Items of popular culture most typically appeal to a broad spectrum of the public.
Important contemporary contributions for understanding what popular culture means have been given
by the German researcher Ronald Daus, who studies the impact of extra-European cultures
in North America, Asia and especially in Latin America.
Folklore Adaptations based on traditional folklore
provide a source of popular culture.
This early layer of cultural mainstream still persists today, in a form separate from mass-produced
popular culture, propagating by word of mouth rather than via mass media, e.g. in the form
of jokes or urban legend.
With the widespread use of the Internet from the 1990s, the distinction between mass media
and word-of-mouth has become blurred.
Although the folkloric element of popular culture engages heavily with the commercial
element, the public has its own tastes and it may not embrace every cultural item sold.
Moreover, beliefs and opinions about the products of commercial culture spread by word-of-mouth,
and become modified in the process in the same manner that folklore evolves.
In popular culture Owing to the pervasive and increasingly interconnected
nature of popular culture, especially its intermingling of complementary distribution
sources, some cultural anthropologists, literary, and cultural critics have identified a large
amount of intertextuality in popular culture's portrayals of itself.
One commentator has suggested this self-referentiality reflects the advancing encroachment of popular
culture into every realm of collective experience.
"Instead of referring to the real world, much media output devotes itself to referring to
other images, other narratives; self-referentiality is all-embracing, although it is rarely taken
account of."
Furthermore, the commentary on the intertextuality and its self-referential nature has itself
become the subject of self-referential and recursive commentary.
Many cultural critics have dismissed this as merely a symptom or side-effect of mass
consumerism; however, alternate explanations and critique have also been offered.
One critic asserts that it reflects a fundamental paradox: the increase in technological and
cultural sophistication, combined with an increase in superficiality and dehumanization.
The long-running animated television series The Simpsons routinely alludes to mainstream
media properties, as well as the commercial content of the show itself.
In the episode "Bart vs. Thanksgiving", Bart complains about the crass commercialism of
the Macy's Thanksgiving Day Parade while watching television.
When he turns his head away from the television, the screen shows an oversized inflatable balloon
of Bart Simpson floating past.
According to television studies scholars specializing in quality television, such as Kristin Thompson,
self-referentiality in mainstream American television reflects and exemplifies the type
of progression characterized previously.
Thompson argues shows such as The Simpsons use a "...flurry of cultural references, intentionally
inconsistent characterization, and considerable self-reflexivity about television conventions
and the status of the programme as a television show."
Extreme examples approach a kind of thematic infinite regress wherein distinctions between
art and life, commerce and critique, ridicule and homage become intractably blurred.
See also Cultural icon
Fads High culture
Low culture MTV Generation
Culture industry Bread and circuses
Pop art Pop icon
Popular culture studies Trash culture
Notes
References
External links The dictionary definition of popular culture
at Wiktionary