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| Culture - Raymond Williams |
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| Culture constitutes a whole way of life. |
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| Culture is learned and patterned behavior (e.g. norms, values, and ideals) which becomes a systematic way of construing reality that people often acquire as a consequence of living in groups. |
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| Culture is the particular social and cultural practices of groups, which enables them to act as if they understood one another. |
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| Culture - Clifford Geertz |
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| Culture is patterned behavior and customs; it is extrinsic sources of information, which are not biological, and act as blue prints or information sources. |
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| A wide-range of culture forms, practices, and products widely disseminated in society that are inflected with a multiplicity of meanings by its consumers and producers in everyday life. |
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| Pop culture - Dwight MacDonald |
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| Commodities (artifacts meant for exchange and consumption) created for entertainment, pitched at and consumed by the masses, and created by the dominant elite. |
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| Artifacts bought and sold in market economy |
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| An irrational regard for a popular commodity where use value and exchange value become indistinguishable. (Frankfurt School) |
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| Self-avowed left intellectuals, fled Nazi Germany, founded New School for Social Research, influenced by Marx, believed mass culture was dangers to society bc of homogenizing effects |
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| Citizens falsely assume they're able to compete in free market economy/society as autonomous citizens. Capitalism encourages citizens to believe that competition is open and fair and class stratification is individualized and not "social-structural." (Frankfurt School) |
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| The ideas of the ruling class, which are the dominant force in society. (Frankfurt School) |
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| The "New" Cultural/American Studies Approach |
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| Process wherein group gains consent from constituents to determine cultural, political, and ideological character of the state. (Cultural studies) |
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| Constituents ally to form a new set of relationships — a counter power bloc to the dominant. (cultural studies) |
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| Three ways consumers decode and encode popular culture: dominant, negotiated, opposition |
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| loci of where culture is at, thus the loci of where transformation and consciousness might be constituted. You can only know a culture and how to intervene in a culture by learning and appreciating the practices and contours of everyday life |
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| Reception theory - Dominant |
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| Consumers accept underlying ideologies of pop culture or do not recognize them as problematic (Hall) |
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| Reception theory: Negotiate |
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| Consumers reconcile problematic/disturbing elements of pop culture with own belief systems. |
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| Reception Theory: Oppositional |
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| Consumers oppose and protest the ideology behind popular amusements that are antiethical to their belief systems (Hall) |
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| High culture is aesthetically superior to mass culture. (MacDonald) |
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| Consists of movies, radio, TV broadcasting, comic books, and detective stories. It's parasitic - takes from high and folk culture and homogenizes it into something in between. Contaminates purity of high/folk art. Infantilizes adults, prematurely matures kids. (MacDonald) |
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| Mass culture is kitsch, the german word for mass culture. "Lords of Kitsch" produce mass culture and are opportunist businessmen interested in profit only. (MacDonald) |
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| An association of groups, especially nations, having a common interest and acting as a single political force. (Hall) |
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| There is a 'lack of fit' Hall argues 'between the two sides in the communicative exchange.' That is, between the moment of the production of the message ('encoding') and the moment of its reception ('decoding').[10] |
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| Double-stake in popular culture, the double movement of containment and resistance, which is always inevitably inside of it. The study of pop culture tends to oscillate wildly between those two poles (Hall) |
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| South African gumboot dance: sounds created with hands and feet. Performance, mulitple meter, apart playing and dancing, call and response, songs of allusion and dances of derision |
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| Heavy/buoyant steps, swaying motions, syncopated, intricate hamboning. Wooden canes, drum beats, rythmic chant repeated during steps. Saluting, cracking (makes fun of other group) and freaking. |
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| Some of the formal aspects of fandom operate as a cultural economy, as a system in which the readers can invest and accumulate cultural capital and which effects textual understanding (Brown) |
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| visual images that represent cultural symbols in a multiplicity of ways (i.e., there is no one essential referent) |
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| The songs, dances, skits, and stagecraft of the 19th century American blackface minstrel show. |
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| 78 rpm phonograph records marketed to blacks during 1920s and 1930s. contained African American musical genres including blues, jazz, and gospel music, comedy. The majority of commercial recordings of African American artists in the US (very few African American artists were marketed to the "general audience"). |
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| Cultural movement Harlem Renaissance |
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| Originally called New Negro Movement, a literary and intellectual flowering that fostered a new black cultural identity in the 1920s and 1930s. |
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| Social relations that shaped animation |
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| Nativism, ethnocentrism, immigrant experiences and realities, ethnic animators focused on assimilation, host group animators on exacerbate descriptions of difference |
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| Attribution of human motivation, characteristics, or behavior to inanimate objects, animals, or natural phenomena. (Tom and Jerry, Bugs Bunny, etc.) |
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| Influence of sound on Animation |
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| Difficulty synching voice with movement, voices solidified equation between characters and ethnic groups, some reviewers disappointed with lack of black dialect, sound made carefree slave life seem more real, rewrote history with false depiction |
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| Trick film method (start, stop, change, start again method to replicate movement) Cartoonist and performance background |
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| Celluloid animation, transparent paper used and multiple images made in parts where each part makes a movement. Layer of images creates movement |
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| Gender/Regional differences in animation |
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| Black females used as domestics, male character asexual or sexual brutes, white females sexualized. Regional: Southern char. subservient, northern characters dangerous, independent, perhaps speaking to fear of Black ascension |
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| Black Superheroes, Milestone Comics, and their Fans |
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| Songs in the Key of Black Life |
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| : The vessel of images and text in a deliberate, sequential form (read from left to right). Therefore, comics are often referred to as sequential art. |
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| A comic strip is an open ended dramatic narrative about a recurring set of characters, told in a series of drawings, often including dialogue in balloons and a narrative text. |
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| A comic book is on ongoing serial of sequential art, also told through drawings, but read from left to right, down, then left to right across the page. |
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| : a series or stories that are interlinked |
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| comic books with adult or mature audience in mind |
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| popular term used to represent animation and/or a particular form of animation motion, for example, Japanese-produced animation. |
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| an image used to represent a person, place, thing or idea. In comics, icons are used to provide quick reference points for readers. |
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| what constitutes or makes something particularly representative of Black experiences and cultures. |
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| : in the context of comic book fandom, Brown uses this term to represent the social or interrelationship between consumers and the art. |
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| three way model of analyzing popular culture (producer, consumer, art). |
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| in the context of comic book fandom, Brown uses this term to represent information outside of the text; subgroup knowledge about the comic books is produced by fans. |
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| blackness defined by radical fluidity that allows powerful existential "conversations" within blackness across genders, sexualities, ethnicities, generations, socioeconomic positions, and socially constructed performances of black identity |
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| company owns more than 1200 stations. Biggest offender of being a radio conglomerate, merging with almost 70 different media companies. Homogenized |
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| The "Chitlin' Circuit" was the collective name given to the string of performance venues throughout the eastern and southern United States that were safe and acceptable for African-American musicians, comedians, and other entertainers to perform during the age of racial segregation in the United States (from at least the early 19th century through the 1960s). |
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| According to Habermas, a variety of factors resulted in the eventual decay of the public sphere, including the growth of a commercial mass media, which turned the critical public into a passive consumer public; and the welfare state, which merged the state with society so thoroughly that the public sphere was squeezed out. |
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| Commodity fetishism provides an example of what Engels called "false consciousness",[130] which relates closely to the understanding of ideology. |
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| Jockey records his show for use in stations in dozens of cities |
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| rise of a black counterpublic in the nineteenth century made the development of distinctive currents of black political thought possible. |
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| describe an individual whose identity is divided into several facets |
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