浙江大學(xué)在職研究生報(bào)名簡章大全

PAGEPAGE8《專業(yè)外語》教案2010-2011學(xué)年度第2學(xué)期適用適用專業(yè)文化產(chǎn)業(yè)管理適用年級(jí)2009級(jí)本科主講教師王萍文學(xué)院2011年Subjectname:SpecializedEnglishMajor:MasterofCultureAdministrationClass:2009upgraduateUnit1PrefaceIntroducemyselfSubjectschemeAbouttheclassdisciplineDomesticResearchesonCultureIndustryIntroducesomenationalwebsitesonthismajorA.Comprehensivewebsites（綜合性網(wǎng)站）:（中國文化產(chǎn)業(yè)網(wǎng)）（中國文化創(chuàng)意產(chǎn)業(yè)網(wǎng)）（文化產(chǎn)業(yè)網(wǎng)）①中國文化產(chǎn)業(yè)網(wǎng)（）是中國權(quán)威文化產(chǎn)業(yè)門戶和全國文化產(chǎn)業(yè)項(xiàng)目服務(wù)工程唯一發(fā)布平臺(tái)。開設(shè)產(chǎn)業(yè)要聞、產(chǎn)業(yè)政策、書畫藝術(shù)、委、傳媒出版、影視音像、創(chuàng)意設(shè)計(jì)、娛樂演藝、動(dòng)漫游戲等欄目，是國內(nèi)為數(shù)不多的關(guān)于文化產(chǎn)業(yè)的專業(yè)實(shí)際操作網(wǎng)站。②中國文化創(chuàng)意產(chǎn)業(yè)網(wǎng)（）是關(guān)于中國文化產(chǎn)業(yè)研究的網(wǎng)站，主要包括學(xué)術(shù)、新聞、管理三大板塊內(nèi)容，每一版塊又有若干小欄目，內(nèi)容豐富詳實(shí)。③文化產(chǎn)業(yè)網(wǎng)（）是北京工商聯(lián)文化產(chǎn)業(yè)商會(huì)主辦的綜合性大型門戶網(wǎng)站。本商會(huì)的宗旨是與旅游聯(lián)合，挖掘北京民間工藝金礦、打造首都文化產(chǎn)業(yè)名牌。/（中國文化產(chǎn)業(yè)學(xué)術(shù)網(wǎng)）B.Specializedwebsites（專業(yè)研究網(wǎng)站）：（國家文化產(chǎn)業(yè)創(chuàng)新與發(fā)展研究基地）http://www.ciipku.con（北京大學(xué)文化產(chǎn)業(yè)研究所）/indesx.aspx（清華大學(xué)文化產(chǎn)業(yè)研究中心）（山西省文化產(chǎn)業(yè)研究中心）/ciiyun（云南大學(xué)文化產(chǎn)業(yè)研究所）①國家文化產(chǎn)業(yè)創(chuàng)新與發(fā)展研究基地（）。國家文化產(chǎn)業(yè)創(chuàng)新與發(fā)展研究基地是中華人民共和國文化部和上海交通大學(xué)共同建設(shè)的國家級(jí)研究基地。就我國文化產(chǎn)業(yè)政策、文化產(chǎn)業(yè)理論、文化產(chǎn)業(yè)發(fā)展戰(zhàn)略、國家文化產(chǎn)業(yè)創(chuàng)新體系、國家文化安全等建設(shè)中國文化產(chǎn)業(yè)體系所涉及的廣泛領(lǐng)域，開展多層次、跨學(xué)科研究。②北京大學(xué)文化產(chǎn)業(yè)研究所（http://www.ciipku.con）。北京大學(xué)文化產(chǎn)業(yè)研究員整合北京大學(xué)文化產(chǎn)業(yè)相關(guān)研究資源，深化文化產(chǎn)業(yè)理論和政策的研究，培養(yǎng)高級(jí)經(jīng)營管理人才，促進(jìn)產(chǎn)、學(xué)、研一體化，推動(dòng)我國文化產(chǎn)業(yè)發(fā)展。山東大學(xué)歷史文化學(xué)院2003年成立文化產(chǎn)業(yè)管理系，是“文化產(chǎn)業(yè)管理”專業(yè)首批承擔(dān)者，。2004年該院的“傳統(tǒng)文化”博士點(diǎn)也開始以“文化資源與文化產(chǎn)業(yè)研究”為方向，正式招生博士研究生。2004年9月，中國首批60名“文化產(chǎn)業(yè)管理”專業(yè)本科生進(jìn)入山東大學(xué)學(xué)習(xí)。至2005年9月，山東大學(xué)歷史文化學(xué)院的博士后流動(dòng)站開始招收“文化產(chǎn)業(yè)研究”方向的博士后。至此，該院文化產(chǎn)業(yè)管理專業(yè)已形成了從本科、碩士到博士、博士后的一套完整教育體系。③清華大學(xué)文化產(chǎn)業(yè)研究中心（/indesx.aspx）。清華大學(xué)文化產(chǎn)業(yè)研究中心是跨院系援救機(jī)構(gòu)，以傳播學(xué)、工商管理、公共管理、設(shè)計(jì)藝術(shù)學(xué)等學(xué)科為依托，以清華控股有限公司和其他大型揣及文化產(chǎn)業(yè)集團(tuán)為企業(yè)支撐，實(shí)行人員流動(dòng)的運(yùn)行機(jī)制，研究人員由校內(nèi)外專職和兼職人員構(gòu)成。④山西省文化產(chǎn)業(yè)研究中心（）。山西省文化產(chǎn)業(yè)研究中心是為建設(shè)文化強(qiáng)省，依托陜西財(cái)經(jīng)大學(xué)而成立的專門從事文化產(chǎn)業(yè)研究的機(jī)構(gòu)，為山西建設(shè)文化強(qiáng)省提供智力支持。⑤云南大學(xué)文化產(chǎn)業(yè)研究所（/ciiyun）。云南大學(xué)文化產(chǎn)業(yè)研究所是一所產(chǎn)、學(xué)、研一體化的新型研究機(jī)構(gòu)，主要進(jìn)行民族文化及其產(chǎn)業(yè)化的理論研究、文化產(chǎn)業(yè)開發(fā)的運(yùn)用研究、文化產(chǎn)業(yè)的相關(guān)政策、法規(guī)研究等。云南大學(xué)文化產(chǎn)業(yè)管理系是在文化產(chǎn)業(yè)研究所基礎(chǔ)上成立的系所合一的教學(xué)、科研單位。云南大學(xué)文化產(chǎn)業(yè)研究所成立于2003年10月，是一個(gè)產(chǎn)、學(xué)、研一體化的新型研究機(jī)構(gòu)。該系致力于培養(yǎng)掌握文化產(chǎn)業(yè)經(jīng)營與管理方面的基本知識(shí)、基本技能和基本理論，能從事文化藝術(shù)管理、文化產(chǎn)業(yè)創(chuàng)意、民族文化產(chǎn)業(yè)開發(fā)等領(lǐng)域的理論研究和實(shí)際操作的復(fù)合型人才。IntroducesomenationaluniversitiesandcollegesShandongYunnanOceanUniversityofChina山東文化產(chǎn)業(yè)網(wǎng)（http://www.sdci.）山東文化產(chǎn)業(yè)基地山東省文化產(chǎn)業(yè)研究基地。山東省文化創(chuàng)意產(chǎn)業(yè)研發(fā)基地。山東文化產(chǎn)業(yè)理論創(chuàng)新基地。山東文化產(chǎn)業(yè)人才培養(yǎng)研究基地。山東文化產(chǎn)業(yè)網(wǎng)（http://www.sdci.）由山東省委宣傳部文化體制改革與發(fā)展辦公室指導(dǎo)、山東大學(xué)山東文化產(chǎn)業(yè)研究基地主辦，是山東省文化產(chǎn)業(yè)系統(tǒng)專業(yè)信息門戶和對(duì)外宣傳平臺(tái)。該網(wǎng)站以建設(shè)文化產(chǎn)業(yè)“信息交流平臺(tái)，學(xué)術(shù)研究基地，工作指導(dǎo)載體，人才集聚橋梁”為目標(biāo)，及時(shí)提供政策咨詢，致力服務(wù)全省文化產(chǎn)業(yè)發(fā)展。網(wǎng)站目前設(shè)有公共信息、學(xué)術(shù)研究、產(chǎn)業(yè)信息、其他專業(yè)信息四大板塊和文化資源、文化創(chuàng)意、政策法規(guī)、行業(yè)動(dòng)態(tài)等36個(gè)頻道。山東文化產(chǎn)業(yè)網(wǎng)2006年山東文化產(chǎn)業(yè)基地為促進(jìn)文化產(chǎn)業(yè)發(fā)展，加快文化強(qiáng)省建設(shè)步伐，山東省相繼設(shè)立文化產(chǎn)業(yè)四大基地。一是山東省文化產(chǎn)業(yè)研究基地。該基地于2003年11月成立，掛靠山東大學(xué)歷史文化學(xué)院，是一個(gè)由省社科院規(guī)劃小組批準(zhǔn)成立的從事文化產(chǎn)業(yè)理論研究、人才培養(yǎng)、戰(zhàn)略咨詢和文化產(chǎn)業(yè)運(yùn)作的機(jī)構(gòu)，致力為山東文化產(chǎn)業(yè)發(fā)展提供學(xué)術(shù)、智力和人才支持。二是山東省文化創(chuàng)意產(chǎn)業(yè)研發(fā)基地。該基地于2006年9月三是山東文化產(chǎn)業(yè)理論創(chuàng)新基地。該基地于2003年11月成立，掛靠山東社會(huì)科學(xué)院，由山東省委宣傳部、山東省文化體制改革與發(fā)展領(lǐng)導(dǎo)小組領(lǐng)導(dǎo)下，依托山東社科院專業(yè)理論研究優(yōu)勢(shì)，充分發(fā)揮跨學(xué)科就特點(diǎn)，致力為山東文化產(chǎn)業(yè)發(fā)展提供決策咨詢和理論創(chuàng)新支持。四是山東文化產(chǎn)業(yè)人才培養(yǎng)研究基地。該基地于2007年6月IntroducethelayoutofEnglishpublishedbookHowdoyoureadtheEnglishpublishedbooks?1theauthorortranslator2thepublishedtime3thepublisher4thecopyright5contents6thesummaryinthecoverorbackExample1:TheCultureIndustry,Theodor·W·Adorno,Routledge(London),1991Example2:CultureIndustry,HeinzSteinert,translatedbySally-AnnSpencer,PolityPress,2003Unit2IntroducethebookCultureIndustry(byHeinzSteinert)TheprefaceThebackgroundTheimportanceofthesocialsciencesCross-culturaldialogueThecooperatorsAboutthecoverofthebookTheCultureIndustry(byTheodor·W·Adorno)Questions1:WhatdoyouthinkaboutT·W·Adorno？Questions2:Whatcanyoulearnfromthisbook？Questions3:Howdoyourevolutethisbook？Unit3SupplementaryExpressionsandReadingMaterial(1)A.SomeSupplementaryexpressions看世界（電視欄目）==AroundtheWorld/WindowontotheWorld/AcrosstheWorld拳頭產(chǎn)品==knockoutproduct/hard-punchproduct/coreproduct/productwithacompetitiveedge/market-penetratingproduct假冒偽劣產(chǎn)品==fakeandinferiorgoods/counterfeitandshoddygoods打假==tocrackdownoncounterfeitgoods公章==officialseal黃金地段==prime/central/ideallocation外向型企業(yè)==export-orientedmanufacturing以外貿(mào)企業(yè)為龍頭==withforeigntradefirmsasthelocomotive/flagship保稅區(qū)==bondedzone/free-tradezone進(jìn)出口商品結(jié)構(gòu)==themake-up/compositionofimportsandexports小商品博覽會(huì)==generalmerchandiseshow/expo機(jī)場班車==airportshuttlebus/airportshuttle空調(diào)公共汽車==air-conditionalbus旅游熱點(diǎn)==apopulardestinationoftourists/apopulartouristattraction/aMeccaoftourists超值享受==enjoymentwithextrabenefits人文奧運(yùn)==Cultural-EnrichedOlympics科技奧運(yùn)==Technology-Empowered/PropelledOlympics免淘米==pre-washedrice三通==Utilityservices,telecommunicationsandpaveroadareavailable不得弄虛作假！==Nocounterfeitandcheating!我們改革開放的步子要邁得更大一些！==Takeabroaderapproachtoeconomicreformandopeningup!熱烈歡迎國內(nèi)外嘉賓參加貿(mào)易洽談會(huì)！==WarmwelcometoallhonoredguestsbothathomeandabroadtoattendtheTradeTalks！歡迎國內(nèi)外嘉賓光臨本市1==Youarewelcometovisitthiscity,guestsofhonorfromhomeandabroad!B.SupplementaryReadingMaterial1.CultureMinister–China’sCultureIndustryAchievedGreatSuccessinthePast60YearsChineseMinisterofCultureCaiWusaysChina'scultureindustryhasexperiencedrobustdevelopmentoverthelast60years,contributinggreatlytothedevelopmentofthenationaleconomy.Healsopledgedtoprovideafavorablepolicyenvironmentforprivatecapitalinvestmentintheculturalsector.Zhangchenghasmore.

Reporter:

AtapressconferenceonMonday,ChineseMinisterofCultureCaiWusaidthatsinceChina'sreformandopeningupin1978,China'scultureindustryhasdevelopedatafasterpaceandachievedgreatsuccess.

HesaysthatthepresenttimeisoneofthebestagesinhistoryforChina'scultureindustry.

"SinceChina'sreformandopeningup,Chinahasgraduallyshapeditsculturemarket,includingentertainment,performingarts,movies,theinternetandfinearts.Meanwhile,anopen,orderedmarketsystemhasbeenformed."

CaiWusaidthatinthepast,mostculturalorganizationswerestate-runandfundedbythegovernment,meaningtheyoftendidnotconsiderwhethertheirperformancesweregoodenoughtoattractaudiences.Butthisphenomenonhasslowlychangedoverthelast30yearsasthegovernmenthasbeenrestructuringstate-ownedculturalenterprisestomakethemmoremarket-orientedandeconomicallyefficient.

CaiWusaidChina'scultureindustry,inrecentyears,experiencedrapidgrowthatarateofover15percentyear-on-year.Insomeregions,ithasevenbecomeapillarofeconomicgrowth.

HesaidChinawillencourageallkindsofprivateinvestorstoentertheculturalsector.

"Inthemarketeconomy,bothprivateandstate-runculturalenterprises,suchasfilmandTVprogramstudios,entertainmentagenciesandrecordcompanies,wouldenjoythesametreatment,asawayofmakingthedomesticculturemarketprosperous.Exceptforafewbusinesses,theculturalsectorwillbeopentoforeigninvestorsaswell."

Headdsthatarestructuringofthe268state-ownedpublishinghousesisalreadytakingplaceandisexpectedtobecompletedbytheendofnextyear.

Meanwhile,theministersaidinordertorealizesustainabledevelopmentofthecultureindustry,thegovernmentispreparingtoestablishfinancialandtalents-trainingsystemsfortheculturemarket."WeareconsideringestablishingaculturalfoundationtoattractmoreenterprisestoinvestintoChina'sculturemarket.Moreover,wewillworkoutaseriesoftalentstrainingprogramsandextendtheolivebranchtoprofessionalswithoverseaseducationbackgrounds."

InJuly,theStateCouncilpassedaplanforrevitalizingtheculturalindustry.CaiWupointsoutthatthisplanindicatesthatthecountryhasputthecultureindustryontoastrategiclevelandwillensureitsdevelopmentwithfavorablepolicies.

2.PolicychangestopromotecultureindustryThegovernmentisplanningtodevelopthecultureindustrythroughreforms,butmajorsystemicproblemsremain,industryexpertssaidSunday.

TheplanforboostingtheChinesecultureindustryreleasedbytheStateCouncilSaturdayincludesmajorprojectsforculturaldevelopment,whichaimatexpandingdomesticdemand,creatingnewjobsandpromotingeconomicdevelopment,saidaspokesmanfortheStateCouncilansweringreporter’squestionsSunday.

Theplanincludestheaccelerateddevelopmentofkeyculturalsectorssuchascreativeindustries,filmmakingandentertainment,publishing,advertising,culturalexhibitions,anddigitalanimatedcartoonsectors.

Cross-regionandcross-industrymergersorrestructuringareencouragedtospeedupindustrialintegration.dEconomicStudiesatTsinghuaUniversity,toldtheGlobalTimes.

TheStateisbecominglessinvolvedinseveralculture-relatedgroups,amovethatmanygreetasastepinther

Favorablepolicieswillbegrantedforexportofculturalproductsandservicestoexpandtheforeignculturemarket,accordingtotheplan.

China’scultureindustryinrecentyearshasgrownatratesofover15percentyear-on-year.Insomeregions,ithasevenbecomeapillarofeconomicgrowth,CaiWu,ChineseMinisterofCulture,saidatapressconferenceSeptember14whentheplanwasapproved.

Themajorobstacletotheadvancementoftheculturalindustryisthesystem,whichismostlymadeupofgovernmentagenciesandinstitutions,CuiBaoguo,directoroftheCenterofMediaManagementanightdirection.

Oneoftheseorganizations,theChinaOrientalSong&DanceEnsemble,anationalsonganddancetroupe,iscurrentlybeingtransformedfromacentralgovernmentaffiliatedorganizationundertheMinistryofCulture(MOC)toaState-ownedcompany,andexpectstogetitsbusinesslicensebyendoftheyear,ZhangXianhui,deputyheadoftheensemble,toldtheGlobalTimes.

Underthecurrentsystem,theensemblecannotengageinmanyactivitiessuchassigningindependentcontractsforcommercialperformancesandgetfinancingfromsourcesotherthanStatefunding,Zhangexplained.

Inmanycases,theensembleneedstosubmitanapplicationtothesupervisoryministriesforapproval.

"Foranoverseasperformance,theensembleneedstogetapprovalfromtheMOC.WeneedtosubmitanapplicationtotheMOCtogetfundingandforaninvestmentof8million($1.17million),wealsohavetogetapprovalfromtheMinistryofFinance,"Zhangnoted.

Afterthereform,theensembleasacompanywillbeabletosigncontractsanditwillbemucheasiertogetapproval,Zhangsaid.

Therearestillsomeregulationsthatneedtobeironedout,Zhangadded,"afterall,therehasneverbeenasimilarcasebefore,anditwilltakesometimeforthetransitiontobecompleted."

Around100culturalorganizationsnationwidewillbecomecompaniesbyendoftheyear.3.CultureIndustryCultureindustryisatermcoinedby\o"Criticaltheorists"criticaltheorists\o"TheodorAdorno"TheodorAdorno(1903–1969)and\o"MaxHorkheimer"MaxHorkheimer(1895–1973),whoarguedinthefinalchapteroftheir\o"DialecticofEnlightenment"DialecticofEnlightenment,'TheCultureIndustry:EnlightenmentasMassDeception',thatpopularcultureisakintoafactoryproducingstandardizedculturalgoods–through\o"Film"film,\o"Radio"radioand\o"Magazine"magazines–tomanipulatethe\o"Masssociety"massesintopassivity;theeasypleasuresavailablethroughconsumptionof\o"Popularculture"popularculturemakepeopledocileandcontent,nomatterhowdifficulttheir\o"Economic"economiccircumstances.AdornoandHorkheimersawthismass-producedcultureasadangertothemoredifficult\o"Highart"higharts.Cultureindustriesmaycultivatefalseneeds;thatis,needscreatedandsatisfiedby\o"Capitalism"capitalism.Trueneeds,incontrast,are\o"Freedom"freedom,\o"Creativity"creativity,orgenuine\o"Happiness"happiness.Thiswasreferencetoanearlierdemarcationinneedsby\o"HerbertMarcuse"HerbertMarcuse(see\o"ErosandCivilization"ErosandCivilization(1955)).Contents1TheFrankfurtSchool2Thetheory3Elements4Observations5References6Externallinks\o"FrankfurtSchool"FrankfurtSchoolMajorworks\o"ReasonandRevolution"ReasonandRevolution

\o"DialecticofEnlightenment"DialecticofEnlightenment

\o"MinimaMoralia"MinimaMoralia

\o"ErosandCivilization"ErosandCivilization

\o"One-DimensionalMan"One-DimensionalMan

\o"NegativeDialectics"NegativeDialectics\o"TheTheoryofCommunicativeAction"TheTheoryofCommunicativeActionNotabletheorists\o"MaxHorkheimer"MaxHorkheimer·\o"TheodorW.Adorno"TheodorAdorno

\o"HerbertMarcuse"HerbertMarcuse·\o"WalterBenjamin"WalterBenjamin

\o"FranzLeopoldNeumann"FranzNeumann·\o"FriedrichPollock"FriedrichPollock

\o"ErichFromm"ErichFromm·\o"LeoL?wenthal"LeoL?wenthal

\o"HelmutReichelt"HelmutReichelt·\o"JürgenHabermas"JürgenHabermasImportantconcepts\o"Criticaltheory"Criticaltheory·\o"Dialectic"Dialectic·\o"Praxis(process)"Praxis

\o"Freudo-Marxism"Psychoanalysis·\o"Positivismdispute"Antipositivism

\o"Popularculturestudies"Popularculture·Cultureindustry

\o"Advancedcapitalism"Advancedcapitalism·\o"Privatism"PrivatismAdornoandHorkheimerwerekeymembersofthe\o"FrankfurtSchool"FrankfurtSchool.Theyweremuchinfluencedbythe\o"Dialecticalmaterialism"dialecticalmaterialismand\o"Historicalmaterialism"historicalmaterialismof\o"KarlMarx"KarlMarx,aswelltherevisitationofthe\o"Dialecticalidealism"dialecticalidealismof\o"Hegel"Hegel,inbothofwhicheventsarestudiednotinisolationbutaspartoftheprocessofchange.Asagrouplaterjoinedby\o"JürgenHabermas"JürgenHabermas,theywereresponsiblefortheformulationof\o"CriticalTheory"CriticalTheory.Inworkssuchas\o"DialecticofEnlightenment"DialecticofEnlightenmentandNegativeDialectics,AdornoandHorkheimertheorisedthatthephenomenonofmassculturehasapoliticalimplication,namelythatallthemanyformsofpopularcultureareasinglecultureindustrywhosepurposeistoensurethecontinuedobedienceofthemassestomarketinterests.ThetheoryAlthoughWesterncultureusedtobedividedintonationalmarketsandthenintohighbrow,\o"Middlebrow"middlebrowand\o"Lowbrow"lowbrow,themodernviewofmasscultureisthatthereisasinglemarketplaceinwhichthebestormostpopularworkssucceed.Thisrecognizesthattheconsolidationofmediacompanieshascentralizedpowerinthehandsofthefewremaining\o"Multinationalcorporation"multinationalcorporationsnowcontrollingproductionanddistribution.Thetheoryproposesthatculturenotonlymirrorssociety,butalsotakesanimportantroleinshapingsocietythroughtheprocessesof\o"Standardization"standardizationand\o"Commodification"commodification,creatingobjectsratherthansubjects.Thecultureindustryclaimstoservetheconsumers'needsforentertainment,andisdeliveringwhattheconsumerwants."Thestandardizedforms,itisclaimed,wereoriginallyderivedfromtheneedsoftheconsumers:thatiswhytheyareacceptedwithsolittleresistance.Inreality,acycleofmanipulationandretroactiveneedisunifyingthesystemevermoretightly".\o""[1]Bystandardizingtheseneeds,theindustryismanipulatingtheconsumerstodesirewhatitproduces.Theoutcomeisthatmassproductionfeedsamassmarketthatminimizestheidentityandtastesoftheindividualconsumerswhoareasinterchangeableastheproductstheyconsume.Therationaleofthetheoryistopromotetheemancipationoftheconsumerfromthetyrannyoftheproducersbyinducingtheconsumertoquestion\o"Belief"beliefsand\o"Ideologies"ideologies.Adornoclaimedthatenlightenmentwouldbringpluralismanddemystification.Unfortunately,societyissaidtohavesufferedanotherfall,corruptedbycapitalistindustrywithexploitativemotives.ElementsAnythingmadebyapersonisamaterialisationoftheirlabourandanexpressionoftheirintentions.Therewillalsobeausevalue:thebenefittotheconsumerwillbederivedfromitsutility.Theexchangevaluewillreflectitsutilityandtheconditionsofthemarket:thepricespaidbythetelevisionbroadcasterorattheboxoffice.Yet,themodern\o"Soapopera"soapoperaswiththeirinterchangeableplotsandformulaicnarrativeconventionsreflectstandardisedproductiontechniquesandthefallingvalueofamassproducedculturalproduct.Onlyrarelyisafilmreleasedthatmakesamorepositiveimpressiononthegeneraldiscourseandachievesahigherexchangevalue,e.g.\o"Patton(film)"Patton(1970)starring\o"GeorgeC.Scott"GeorgeC.ScottastheeponymousAmericangeneral,wasreleasedatatimeofconsiderableanti-warsentiment.TheopeningshotisofPattoninfrontofanAmericanflagmakinganimpassionedspeech.Thiswasaformof\o"Dialectic"dialecticinwhichtheaudiencecouldidentifywiththepatriotismeithersincerely(thethesis)orironically(theantithesis)andsosetthetoneoftheinterpretationfortheremainderofthefilm.However,thefilmismanipulatingspecifichistoricalevents,notonlyasentertainment,butalsoasaformofpropagandabydemonstratingalinkbetweensuccessinstrategicresourcemanagementsituationsandspecifiedleadershipqualities.Giventhatthesubtextwasinstrumentalandnot"valuefree",ethicalandphilosophicalconsiderationsarise.Normally,onlyhighartcriticisestheworldoutsideitsboundaries,butaccesstothisformofcommunicationislimitedtotheeliteclasseswheretherisksofintroducingsocialinstabilityareslight.AfilmlikePattonispopularartwhichintendscontroversyinaworldofsocialorderandunitywhich,accordingtoAdorno,isregressingintoaculturalblandness.ToHegel,orderisgoodapriori,i.e.itdoesnothavetoanswertothoselivingunderit.But,iforderisdisturbed?InNegativeDialectics,Adornobelievedthistendedtowardsprogressbystimulatingthepossibilityofclassconflict.Marx'stheoryofHistoricalMaterialismwas\o"Teleological"teleological,i.e.societyfollowsthroughadialecticofunfoldingstagesfromancientmodesofproductiontofeudalismtocapitalismtoafuturecommunism.ButAdornofeltthatthecultureindustrywouldneverpermitasufficientcoreofchallengingmaterialtoemergeontothemarketthatmightdisturbthestatusquoandstimulatethefinalcommuniststatetoemerge.ObservationsCriticsofthetheorysaythattheproductsof\o"Massculture"massculturewouldnotbepopularifpeopledidnotenjoythem,andthatcultureisself-determininginitsadministration.ThiswoulddenyAdornocontemporarypoliticalsignificance,arguingthatpoliticsinaprosperoussocietyismoreconcernedwithactionthanwiththought.Wiggershaus(1994)notesthattheyounggenerationofcriticaltheoristslargelyignoreAdorno'sworkwhich,inpart,stemsfromAdorno’sinabilitytodrawpracticalconclusionsfromhistheories.AdornoisalsoaccusedofalackofconsistencyinhisclaimstobeimplementingMarxism.WhereasheacceptedtheclassicalMarxistanalysisofsocietyshowinghowoneclassexercisesdominationoveranother,hedeviatedfromMarxinhisfailuretousedialecticasamethodtoproposewaystochange.Marx'stheorydependedonthewillingnessoftheworkingclasstooverthrowtherulingclass,butAdornoandHorkheimerpostulatedthatthecultureindustryhasunderminedtherevolutionarymovement.Adorno'sideathatthemassofthepeopleareonlyobjectsofthecultureindustryislinkedtohisfeelingthatthetimewhentheworkingclasscouldbethetoolofoverthrowingcapitalismisover.Othercriticsnotethat"Highculture"tooisnotexemptfromaroleinthejustificationofcapitalism.Theestablishmentandreinforcementofelitismisseenbythesecriticsasakeyelementintheroleofsuchgenresas\o"Opera"operaand\o"Ballet"ballet.However,despitetheseproblems,theconcepthasinfluencedintellectualdiscourseon\o"Popularculture"popularculture,\o"Popularculturestudies"popularculturestudies,and\o"CulturalInstitutionsStudies"CulturalInstitutionsStudies.References\o""↑Horkheimer,M.andAdorno,T.W.:TheCultureIndustry:EnlightenmentasMassDeception,p.121.ContinuumInternationalPublishingGroup,1976.Adorno,T.W.NegativeDialectics.NewYork:TheSeaburyPress.(1973)Adorno,T.W.\o"http://www.icce.rug.nl/~soundscapes/DATABASES/SWA/Some_writings_of_Adorno.shtml"ASampleofAdorno'sideasonthecultureindustryandpopularmusicAdorno,T.,&Horkheimer,M.DialecticofEnlightenment.StanfordCook,D.TheCultureIndustryRevisited.Rowman&Littlefield.(1996)Hesmondhalgh,D.TheCulturalIndustries.Sage.(2002)Marcuse,H.ErosandCivilization.Beacon.(1955)Steinert,H.CultureIndustry.Cambridge:Polity(2003)Wiggershaus,R.TheFrankfurtSchoolWitkin,R.W.AdornoonPopularCulture.Routledge.(2003)Scott,AllenJ.TheCulturalEconomyofCities.Sage.(2001)Unit4SupplementaryExpressionsandReadingMaterial(2)1.CPPCCmembersdebateoncultureindustryTheindustrializationofcultureisalwaysaninterestingtopicinacountrywithabundantculturalresources.Reporter,XuZhaoqun,wwatchedthedebateamongCPPCCMembersfromtheartsectoronculturedevelopment.Whilehighlypraisingsomeprivateculturalenterprises,renownedfilmdirectorFengXiaogangcriticizedthestateownedarttroupesfortheirpoormanagementskillsandconstantdemandforfinancialsupportfromthegovernment.FengXiaogang,CPPCCmember,said,"Asmallcompany,withoutowningsuperstars,bigmoneyandpolicysupport,hasdevelopedsofastinacoupleofyears.Isn'titanexampleforotherstofollow?"FengwasimmediatelyrefutedbyNiPing,afamousfilmactresswhoinsistedthatFengtookthesideoftheprivatesector.NithenhadsupportfromvocalistYuJunjian.YuJunjian,CPPCCmember,said,"Vulgarityisdominatingourstage.Thisisnotwhatweshouldcarryforward.SomesocalledartistsoccupytheSpringFestivalgalawiththeirvulgaractsandmakeitacommercialfortheirownbusiness."ThestatementalludedtothepopularcomedianZhaoBenshan,whoownsalargeculturalbusiness.Zhao'scomedyatthisyear'sgaladrewheavycriticismfortoomuchproductplacement.SomeCPPCCMembersexpressedtheirworriesaboutthelackofsupportformuseumsandgalleries.Somepointedattheexhibitionofpreciousartworks,andsomeblamedindustrializedpopularculturefordamagingtraditionalartforms.ZhangHuijun,CPPCCmember,said,"JohnWoo'sfilmThreeKingdomschangeshistory.Itisabsolutelyrubbish."Nomatterhowfuriousthedebatewas,Membersadvocatedforreformintheculturesector.YinLi,CPPCCMember,said,"Industrializationisbringingmoremoneytotheculturalsector.Variousenterprisesinthecultureindustryisgoodforimprovingtheircapabilitytowithstandrisks."Adivergenceofopinionsonculturaldevelopmentisob