Kellner is interested in developing the best method
contingent to study culture and society in order to generalise the full impact of media culture. He relies on social supposition to "contextualize, interpret, and analyze the nature and effects of media culture" (4). Although his approach is pedagogical, his stuff and nonsense is lively ranging from TV cop says ("Miami transgression") to popular films ("Rambo"), drudge fiction, Madonna and rap music. For example, he discusses the beat and pleasure of hearing to rap music as well as the opening that "rap itself is best seen as a cultural meeting place for urban blacks to articulate their experiences, concerns, and politics" (176). In the chapter on "Miami Vice and the politics of ima
ge and identity," Kellner identifies several(prenominal) elements of the show's postmodern style, and contends that the show is driven by "intense emotion, a clash of values, and highly specific political messages and positions" (239).
An important concept is that the show influences the self, but does not construct the self. Whether audiences viewing the show also see it as a social text is probably not likely.
A weakness of the track record is Kellner bosom one theory (The Frankfurt School) and then contradicting it with another so that the reader gets the impression that he is still in appear of a single operable theory. In spite of this, the book contains many thought-provoking insights that could inspire a reader to fete aspects of the cultural media more carefully.
Kellner, Douglas. Media Culture. New York: Routledge, 1995.
Kellner brings excellent credentials to his book. He is a professor of Philosophy and has written many books on culture, the media, soci
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