Media Culture, Politics, and Society
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Abstract
From the 1960s to the present, media culture in the United States has been a battleground between competing social groups with some artifacts advancing liberal or radical positions and others conservative ones. Likewise, some artifacts of media culture promote progressive positions and representations of gender, sexual preference, race or ethnicity, while others articulate reactionary forms of racism, sexism, homophobia, and rightwing values and beliefs, thus many films articulate a contradictory matrix of liberal, radical, and reactionary representations, discourses, and narratives.
In this article, I argue that media culture can provide important insights into the psychological, socio-political, and ideological make-up of U.S. society at a given point in history. Reading culture diagnostically allows one to gain insights into social problems and conflicts, and to appraise the dominant ideologies and emergent oppositional forces. This approach thus involves a dialectic of text and context, using texts to read social realities and context to help situate and interpret key artifacts of media culture in the 21 st century.
DOI:
https://doi.org/10.61439/WMER3493
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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
References
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Barreda-Ángeles, M., Serra-Blasco, M., Trepat, E., Pereda-Baños, A., Pàmias, M., Palao, D., Goldberg, X., & Cardoner, N. (2021). Development and experimental validation of a dataset of 360°-videos for facilitating school-based bullying prevention programs. Computers & Education, 161, 104065 https://doi.org/10.1016/j.compedu.2020.104065
Benjamin, W. (1967). Paris, Capital of the 19th Century. New Left Review.
Bonsignori, V. (2018). Using films and TV series for ESP teaching: A multimodal perspective. System, 77, 58–69. https://doi.org/10.1016/j.system.2018.01.005
Borré, J. R., Romero, G. C., Gutiérrez, J. M., & Ramı́Rez, J. (2023). Discussion of the aspects of the cultural and creative industries that impact on sustainable development: a systematic review. Procedia Computer Science, 224, 532–537. https://doi.org/10.1016/j.procs.2023.09.077
Choi, H., Ko, E., & Megehee, C. M. (2014). Fashion’s role in visualizing physical and psychological transformations in movies. Journal of Business Research, 67(1), 2911–2918. https://doi.org/10.1016/j.jbusres.2012.06.002
Clooney, G., Heslov, G., & Kuras, E. (Directors). (2019). Catch‑22 [TV series]. Lakeside Ultraviolet; Yoki Inc.
Cooper, A. (2019). Neoliberal theory and film studies. New Review of Film and Television Studies, 17(3), 265–277. https://doi.org/10.1080/17400309.2019.1622877
Coogler, R. (Director). (2018). Black Panther [Film]. Walt Disney Studios; Motion Pictures.
Coppola, F. F. (Director). (1972). The Godfather [Film]. Paramount Pictures; Alfran Productions.
Cranmer, A., Ericson, J. D., Ebers, A., Bernard, B. P., Robicheaux, E., & Podolski, M. (2020). Worth a thousand words: Presenting wind turbines in virtual reality reveals new opportunities for social acceptance and visualization research. Energy Research & Social Science, 67, 101507. https://doi.org/10.1016/j.erss.2020.101507
Dayán, J. (2017). Güeros: social fragmentation, political agency and the Mexican film industry under neoliberalism. Norteamérica. https://doi.org/10.20999/nam.2017.a005
Deming, B. (1969). Running away from myself: a dream portrait of America drawn from the films of the forties. Penguin Adult HC/TR.
De Antonio, E. (Director). (1988). Mr. Hoover and I [Film]. Channel Four Films.
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Desai, S. V., Jabeen, S. S., Abdul, W. K., & Rao, S. (2018). Teaching cross-cultural management: A flipped classroom approach using films. The International Journal of Management Education, 16(3), 405–431. https://doi.org/10.1016/j.ijme.2018.07.001
Dimitrov, D., Maymone, M. B., & Kroumpouzos, G. (2023). Beauty perception: A historical and contemporary review. Clinics in Dermatology, 41(1), 33–40. https://doi.org/10.1016/j.clindermatol.2023.02.006
Durham, M. G., & Kellner, D. M. (2006). Media and Cultural Studies. Blackwell Publishing Ltd.
Fandos, N., & Cochrane, E. (2021, January 7). After Pro-Trump Mob Storms Capitol, Congress Confirms Biden’s Win. The New York Times. https://www.nytimes.com/2021/01/06/us/politics/congress-gop-subvert-election.html
Frankenheimer, J. (Director). (1962). The Manchurian Candidate [Film]. M. C. Productions.
Gaghan, S. (Director). (2005). Syriania [Film]. Participant Productions; Section Eight Productions.
Gibson, B. (Director). (1986). Poltergeist II: The Other Side [Film]. Metro-Goldwyn-Mayer; Freddie Fields Productions; Grais-Victor Productions.
Gilroy, P. (1991). There Ain’t No Black in the Union Jack: The Cultural Politics of Race and Nation. University of Chicago Press.
Guerrier, S. (2020). You must become Caligari! The Lancet Psychiatry, 7(8), 670–671. https://doi.org/10.1016/s2215-0366(20)30294-7
Hooper, T. (Director). (1982). Poltergeist [Film]. Metro-Goldwyn-Mayer; SLM Production Group; Mist Entertainment; Amblin Productions.
Hopper, D. (Director). (1969). Easy Rider [Film]. Pando Company Inc.; Raybert Productions.
Jameson, F. (1981). The Political Unconscious: Narrative as a Socially Symbolic Act. Methuen Publishing.
Jenkins, P. (Director). (2017). Wonder Woman [Film]. Warner Bros. Pictures; DC Films; Atlas Entertainment; Cruel and Unusual Films;
Kellner, D. (2009). Cinema Wars: Hollywood Film and Politics in the Bush-Cheney Era. Wiley-Blackwell.
Kellner, D. (2019). On truth, objectivity and partisanship: the case of Michael Moore. In B. Winston (Ed.), The Documentary Film Book Paperback (pp. 59–67). Bloomsbury Publishing. (Original work published 2013) https://doi.org/10.1007/978–1–349–92625–1_5
Kellner, D. (2020). Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern. Routledge. (Original work published 1995)
Kracauer, S. (1947). From Caligari to Hitler: A Psychological History of the German Film, by Siegfried Kracauer. Princeton University Press.
Kujundžić, D. (2013). “Mickey Marx”: Ėjzenštejn with Disney, and Other Funny Tales from the Socialist Realist Crypt. Russian Literature, 74(1–2), 11–30. https://doi.org/10.1016/j.ruslit.2013.10.002
Lee, V., & Lo, A. W. (2014). From theory to practice: Teaching management using films through deductive and inductive processes. The International Journal of Management Education, 12(1), 44–54. https://doi.org/10.1016/j.ijme.2013.05.001
Light, A. (2003). Reel Arguments: Film, Philosophy, And Social Criticism. Avalon Publishing.
Mangan, D. (2016, October 20). Trump: I’ll appoint Supreme Court justices to overturn Roe v. Wade abortion case. CNBC. https://www.cnbc.com/2016/10/19/trump-ill-appoint-supreme-court-justices-to-overturn-roe-v-wade-abortion-case.html
McCorkle, K., & Golburt, L. (2021). Identity and capitalism in Nadezhda Teffi’s Magic Mirrors: The Unpublished Film Scripts of the 1940s. Russian Literature, 125–126, 149–166. https://doi.org/10.1016/j.ruslit.2021.11.009
McRobbie, A. (1994). Postmodernism and Popular Culture. Routledge.
McTeigue, J. (Director). (2006). V for Vendetta [Film]. Silver Pictures; Virtual Studios; Studio Babelsberg; DC Vertigo Comics; Anarchos Productions, Inc.
Milius, J. (Director). (1984). Red Dawn [Film]. United Artists; Valkyrie Films.
Miller, B. (Director). (2017–2022). The Handmaid’s Tale [TV series]. Daniel Wilson Productions, Inc.; The Littlefield Company; White Oak Pictures; Toluca Pictures; MGM Television.
Miller, B., Atwood, M., Maxcy L. R. (Writers) & Barker M. (Director). (2019, August 14). Mayday (Season 3, Episode 13) [TV series episode] In Miller B. (Creator), The Handmaid’s Tale. Daniel Wilson Productions; Littlefield Company; White Oak Pictures.
Morelli, L., Poul, A., Stearn, A., Linney, L., Maupin, A., Bevan, T., Fellner, E., & Chasin, L. (Directors). (2019). Tales of the City [TV series]. Sweatpants Productions; Working Title Television; Universal Television; NBCUniversal; International Studios.
Moore, M. (Director). (2002). Bowling for Columbine [Film]. United Artists; Alliance Atlantis; Salter Street Films; Dog Eat Dog Films.
Moore, M. (Director). (2004). Fahrenheit 9/11 [Film]. Dog Eat Dog Films; Fellowship Adventure Group.
Powdermaker, H. (1950). Hollywood, the Dream Factory: An Anthropologist Looks at the Movie-Makers. Little.
Radianti, J., Majchrzak, T. A., Fromm, J., & Wohlgenannt, I. (2020). A systematic review of immersive virtual reality applications for higher education: Design elements, lessons learned, and research agenda. Computers & Education, 147, 103778. https://doi.org/10.1016/j.compedu.2019.103778
Rosenberg, S. (Director). (1979). The Amityville Horror [Film]. Cinema 77; Professional Films, Inc.
Rosmini, M. (2014). The philosophy of M*A*S*H. Travel Medicine and Infectious Disease. https://doi.org/10.1016/j.tmaid.2014.06.006
Ryan, M., & Kellner, D. (1988). Camera Politica: The Politics and Ideology of Contemporary Hollywood Film. Indiana University Press.
Schlesinger, P. (2015). Mass media and cultural identity. In International Encyclopedia of the Social & Behavioral Sciences (pp. 707–711). https://doi.org/10.1016/b978-0-08-097086-8.95042-6
Sciamma, C. (Director). (2019). Portrait of a Lady on Fire [Film]. Lilies Films; Arte; Hold Up Films.
Scott, R. (Director). (1991). Thelma & Louise [Film]. Metro-Goldwyn-Mayer; Pathé Entertainment; Percy Main Productions; Star Partners III Ltd.
Sherman, G. (Director). (1988). Poltergeist III [Film]. Metro-Goldwyn-Mayer
Spielberg, S. (Director). (1975). Jaws [Film]. Zanuck/Brown Company; Universal Pictures.
Stone, O. (Director). (1989). Platoon, or Born on the Fourth of July [Film]. Ixtlan Productions.
Stone, O. (Director). (1991a). JFK [Film]. Le Studio Canal+; Regency Enterprises; Alcor Films; Ixtlan Corporation.
Stone, O. (Director). (1991b). The Doors [Film]. Bill Graham Films; Carolco Pictures; Imagine Entertainment; Ixtlan; Le Studio Canal+.
Tobin, V. (2022). Book review. Journal of Pragmatics, 202, 126–128. https://doi.org/10.1016/j.pragma.2022.11.003
Turner, R. H., Wolfenstein, M., & Leites, N. (1950). Movies: A Psychological Study. Free Press.
Tyler, P. (1944). The Hollywood Hallucination. Creative Age.
Tyler, P. (1947). Magic and Myth of the Movies. Henry Holt and Company.
Van Oosten, J. M. F. (2023). Gender socialization in childhood and adolescence: The role of the media in context. In Elsevier eBooks (pp. 275–289). https://doi.org/10.1016/b978-0-12-818872-9.00127-8
Wadleigh, M. (Director). (1970). Woodstock [Film]. Warner Brothers.
Warshow, R. I. (1970). The immediate experience: movies, comics, theatre, and other aspects of popular culture. Atheneum.
Yeşi̇Ldağ, A. Y., & Bostan, S. (2023). Movie analysis as an active learning method: A study with health management student. The International Journal of Management Education, 21(1), 100759. https://doi.org/10.1016/j.ijme.2022.100759
Zito, J. (Director). (1984). Missing in Action [Film]. The Cannon Group.
Allal‐Chérif, O. (2022). Intelligent cathedrals: Using augmented reality, virtual reality, and artificial intelligence to provide an intense cultural, historical, and religious visitor experience. Technological Forecasting and Social Change, 178, 121604. https://doi.org/10.1016/j.techfore.2022.121604
Ang, I. (1998). Doing cultural studies at the crossroads. European Journal of Cultural Studies, 1(1), 13–31. https://doi.org/10.1177/136754949800100102
Aslan, E. U., & Baş, B. (2023). Popular culture texts in education: The effect of tales transformed into children’s media on critical thinking and media literacy skills. Thinking Skills and Creativity, 47, 101202. https://doi.org/10.1016/j.tsc.2022.101202
Atwood, M. (1985). The Handmaid’s Tale. Houghton Mifflin Company.
Barnes, R., & Marimow, A. E. (2022, June 25). Supreme Court ruling leaves states free to outlaw abortion. Washington Post. https://www.washingtonpost.com/politics/2022/06/24/supreme-court-ruling-abortion-dobbs/
Barreda-Ángeles, M., Serra-Blasco, M., Trepat, E., Pereda-Baños, A., Pàmias, M., Palao, D., Goldberg, X., & Cardoner, N. (2021). Development and experimental validation of a dataset of 360°-videos for facilitating school-based bullying prevention programs. Computers & Education, 161, 104065 https://doi.org/10.1016/j.compedu.2020.104065
Benjamin, W. (1967). Paris, Capital of the 19th Century. New Left Review.
Bonsignori, V. (2018). Using films and TV series for ESP teaching: A multimodal perspective. System, 77, 58–69. https://doi.org/10.1016/j.system.2018.01.005
Borré, J. R., Romero, G. C., Gutiérrez, J. M., & Ramı́Rez, J. (2023). Discussion of the aspects of the cultural and creative industries that impact on sustainable development: a systematic review. Procedia Computer Science, 224, 532–537. https://doi.org/10.1016/j.procs.2023.09.077
Choi, H., Ko, E., & Megehee, C. M. (2014). Fashion’s role in visualizing physical and psychological transformations in movies. Journal of Business Research, 67(1), 2911–2918. https://doi.org/10.1016/j.jbusres.2012.06.002
Clooney, G., Heslov, G., & Kuras, E. (Directors). (2019). Catch‑22 [TV series]. Lakeside Ultraviolet; Yoki Inc.
Cooper, A. (2019). Neoliberal theory and film studies. New Review of Film and Television Studies, 17(3), 265–277. https://doi.org/10.1080/17400309.2019.1622877
Coogler, R. (Director). (2018). Black Panther [Film]. Walt Disney Studios; Motion Pictures.
Coppola, F. F. (Director). (1972). The Godfather [Film]. Paramount Pictures; Alfran Productions.
Cranmer, A., Ericson, J. D., Ebers, A., Bernard, B. P., Robicheaux, E., & Podolski, M. (2020). Worth a thousand words: Presenting wind turbines in virtual reality reveals new opportunities for social acceptance and visualization research. Energy Research & Social Science, 67, 101507. https://doi.org/10.1016/j.erss.2020.101507
Dayán, J. (2017). Güeros: social fragmentation, political agency and the Mexican film industry under neoliberalism. Norteamérica. https://doi.org/10.20999/nam.2017.a005
Deming, B. (1969). Running away from myself: a dream portrait of America drawn from the films of the forties. Penguin Adult HC/TR.
De Antonio, E. (Director). (1988). Mr. Hoover and I [Film]. Channel Four Films.
Deming, B. (1969). Running away from myself: a dream portrait of America drawn from the films of the forties. Penguin Adult HC/TR.
Desai, S. V., Jabeen, S. S., Abdul, W. K., & Rao, S. (2018). Teaching cross-cultural management: A flipped classroom approach using films. The International Journal of Management Education, 16(3), 405–431. https://doi.org/10.1016/j.ijme.2018.07.001
Dimitrov, D., Maymone, M. B., & Kroumpouzos, G. (2023). Beauty perception: A historical and contemporary review. Clinics in Dermatology, 41(1), 33–40. https://doi.org/10.1016/j.clindermatol.2023.02.006
Durham, M. G., & Kellner, D. M. (2006). Media and Cultural Studies. Blackwell Publishing Ltd.
Fandos, N., & Cochrane, E. (2021, January 7). After Pro-Trump Mob Storms Capitol, Congress Confirms Biden’s Win. The New York Times. https://www.nytimes.com/2021/01/06/us/politics/congress-gop-subvert-election.html
Frankenheimer, J. (Director). (1962). The Manchurian Candidate [Film]. M. C. Productions.
Gaghan, S. (Director). (2005). Syriania [Film]. Participant Productions; Section Eight Productions.
Gibson, B. (Director). (1986). Poltergeist II: The Other Side [Film]. Metro-Goldwyn-Mayer; Freddie Fields Productions; Grais-Victor Productions.
Gilroy, P. (1991). There Ain’t No Black in the Union Jack: The Cultural Politics of Race and Nation. University of Chicago Press.
Guerrier, S. (2020). You must become Caligari! The Lancet Psychiatry, 7(8), 670–671. https://doi.org/10.1016/s2215-0366(20)30294-7
Hooper, T. (Director). (1982). Poltergeist [Film]. Metro-Goldwyn-Mayer; SLM Production Group; Mist Entertainment; Amblin Productions.
Hopper, D. (Director). (1969). Easy Rider [Film]. Pando Company Inc.; Raybert Productions.
Jameson, F. (1981). The Political Unconscious: Narrative as a Socially Symbolic Act. Methuen Publishing.
Jenkins, P. (Director). (2017). Wonder Woman [Film]. Warner Bros. Pictures; DC Films; Atlas Entertainment; Cruel and Unusual Films;
Kellner, D. (2009). Cinema Wars: Hollywood Film and Politics in the Bush-Cheney Era. Wiley-Blackwell.
Kellner, D. (2019). On truth, objectivity and partisanship: the case of Michael Moore. In B. Winston (Ed.), The Documentary Film Book Paperback (pp. 59–67). Bloomsbury Publishing. (Original work published 2013) https://doi.org/10.1007/978–1–349–92625–1_5
Kellner, D. (2020). Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern. Routledge. (Original work published 1995)
Kracauer, S. (1947). From Caligari to Hitler: A Psychological History of the German Film, by Siegfried Kracauer. Princeton University Press.
Kujundžić, D. (2013). “Mickey Marx”: Ėjzenštejn with Disney, and Other Funny Tales from the Socialist Realist Crypt. Russian Literature, 74(1–2), 11–30. https://doi.org/10.1016/j.ruslit.2013.10.002
Lee, V., & Lo, A. W. (2014). From theory to practice: Teaching management using films through deductive and inductive processes. The International Journal of Management Education, 12(1), 44–54. https://doi.org/10.1016/j.ijme.2013.05.001
Light, A. (2003). Reel Arguments: Film, Philosophy, And Social Criticism. Avalon Publishing.
Mangan, D. (2016, October 20). Trump: I’ll appoint Supreme Court justices to overturn Roe v. Wade abortion case. CNBC. https://www.cnbc.com/2016/10/19/trump-ill-appoint-supreme-court-justices-to-overturn-roe-v-wade-abortion-case.html
McCorkle, K., & Golburt, L. (2021). Identity and capitalism in Nadezhda Teffi’s Magic Mirrors: The Unpublished Film Scripts of the 1940s. Russian Literature, 125–126, 149–166. https://doi.org/10.1016/j.ruslit.2021.11.009
McRobbie, A. (1994). Postmodernism and Popular Culture. Routledge.
McTeigue, J. (Director). (2006). V for Vendetta [Film]. Silver Pictures; Virtual Studios; Studio Babelsberg; DC Vertigo Comics; Anarchos Productions, Inc.
Milius, J. (Director). (1984). Red Dawn [Film]. United Artists; Valkyrie Films.
Miller, B. (Director). (2017–2022). The Handmaid’s Tale [TV series]. Daniel Wilson Productions, Inc.; The Littlefield Company; White Oak Pictures; Toluca Pictures; MGM Television.
Miller, B., Atwood, M., Maxcy L. R. (Writers) & Barker M. (Director). (2019, August 14). Mayday (Season 3, Episode 13) [TV series episode] In Miller B. (Creator), The Handmaid’s Tale. Daniel Wilson Productions; Littlefield Company; White Oak Pictures.
Morelli, L., Poul, A., Stearn, A., Linney, L., Maupin, A., Bevan, T., Fellner, E., & Chasin, L. (Directors). (2019). Tales of the City [TV series]. Sweatpants Productions; Working Title Television; Universal Television; NBCUniversal; International Studios.
Moore, M. (Director). (2002). Bowling for Columbine [Film]. United Artists; Alliance Atlantis; Salter Street Films; Dog Eat Dog Films.
Moore, M. (Director). (2004). Fahrenheit 9/11 [Film]. Dog Eat Dog Films; Fellowship Adventure Group.
Powdermaker, H. (1950). Hollywood, the Dream Factory: An Anthropologist Looks at the Movie-Makers. Little.
Radianti, J., Majchrzak, T. A., Fromm, J., & Wohlgenannt, I. (2020). A systematic review of immersive virtual reality applications for higher education: Design elements, lessons learned, and research agenda. Computers & Education, 147, 103778. https://doi.org/10.1016/j.compedu.2019.103778
Rosenberg, S. (Director). (1979). The Amityville Horror [Film]. Cinema 77; Professional Films, Inc.
Rosmini, M. (2014). The philosophy of M*A*S*H. Travel Medicine and Infectious Disease. https://doi.org/10.1016/j.tmaid.2014.06.006
Ryan, M., & Kellner, D. (1988). Camera Politica: The Politics and Ideology of Contemporary Hollywood Film. Indiana University Press.
Schlesinger, P. (2015). Mass media and cultural identity. In International Encyclopedia of the Social & Behavioral Sciences (pp. 707–711). https://doi.org/10.1016/b978-0-08-097086-8.95042-6
Sciamma, C. (Director). (2019). Portrait of a Lady on Fire [Film]. Lilies Films; Arte; Hold Up Films.
Scott, R. (Director). (1991). Thelma & Louise [Film]. Metro-Goldwyn-Mayer; Pathé Entertainment; Percy Main Productions; Star Partners III Ltd.
Sherman, G. (Director). (1988). Poltergeist III [Film]. Metro-Goldwyn-Mayer
Spielberg, S. (Director). (1975). Jaws [Film]. Zanuck/Brown Company; Universal Pictures.
Stone, O. (Director). (1989). Platoon, or Born on the Fourth of July [Film]. Ixtlan Productions.
Stone, O. (Director). (1991a). JFK [Film]. Le Studio Canal+; Regency Enterprises; Alcor Films; Ixtlan Corporation.
Stone, O. (Director). (1991b). The Doors [Film]. Bill Graham Films; Carolco Pictures; Imagine Entertainment; Ixtlan; Le Studio Canal+.
Tobin, V. (2022). Book review. Journal of Pragmatics, 202, 126–128. https://doi.org/10.1016/j.pragma.2022.11.003
Turner, R. H., Wolfenstein, M., & Leites, N. (1950). Movies: A Psychological Study. Free Press.
Tyler, P. (1944). The Hollywood Hallucination. Creative Age.
Tyler, P. (1947). Magic and Myth of the Movies. Henry Holt and Company.
Van Oosten, J. M. F. (2023). Gender socialization in childhood and adolescence: The role of the media in context. In Elsevier eBooks (pp. 275–289). https://doi.org/10.1016/b978-0-12-818872-9.00127-8
Wadleigh, M. (Director). (1970). Woodstock [Film]. Warner Brothers.
Warshow, R. I. (1970). The immediate experience: movies, comics, theatre, and other aspects of popular culture. Atheneum.
Yeşi̇Ldağ, A. Y., & Bostan, S. (2023). Movie analysis as an active learning method: A study with health management student. The International Journal of Management Education, 21(1), 100759. https://doi.org/10.1016/j.ijme.2022.100759
Zito, J. (Director). (1984). Missing in Action [Film]. The Cannon Group.