文化工业批判的再批判

Re-critique of the Critical Theory on Cultural Industry

文化工业理论作为法兰克福学派对大众文化生产的一种批判,它的典型语境是第二次世界大战前后的德国和美国。离开这两个典型语境,一切批判或将是无的放矢。文化工业理论对大众文化标准化和伪个性化等一系列质疑,中间或有精英主义意识作祟,但是一定程度上是在警示文化产品本能快感和艺术快感之间的分野。比较伯明翰学派的大众文化理论,用斯图亚特·霍尔的术语来看,文化工业理论应是把意义的生产定位在编码一端,反之伯明翰学派则是将之移位到了受众解码一端。文化工业理论应是低估了大众媒体受众的主体意识,虽然,判定法兰克福学派的文化工业批判理论已是明日黄花,也还为时过早。

As an apparently uncompromising critique of popular culture by Frankfurt School,the theory of cultural industry has two typical targets：that of Nazi Germany then conmercialized US,out of which any critique will be misleading though the standardization and pseudo-individualization,two terms Adorno posed on popular music,in a degree,could still be the milestone to identify the difference between physical pleasure and the aesthetic one.In this perspective then,a comparative study with cultural studies in Birmingham background will show that while critic theory focuses on the encoding instead of decoding of popular culture,it has more or less devaluated the subjectivity of the audience,though it is far from out of the dates so far.