In 1947 Max Horkheimer and Theodor Adorno published Dialektik der Aufklärung: PhilosophischeFragmente, whose title was translated into English (in 1972) as Dialectic of Enlightenment: Philosophical Fragments. One of the sections of this book was concerned with what Horkheimer and Adorno called the culture industry. It was their contention that the culture industry was the result of an historical process that with an increase in technology (including mass communication technology) there was an increase in the ability to produce commodities, which enabled increased consumption of goods. The consumption of mechanically reproduced cultural products—predominantly radio and film—led to formulas of producing them for entertainment purposes, and it did not occur to consumers to question the idea that the entertainment presented to them had an ideological purpose or purposes. Consumers adapted their needs around these cultural products, and in doing so no longer knew of anything else that they might desire, or that there might be anything else they could desire. The entertainment that they enjoyed did not reflect their real social, political, or economic interests, but instead blinded them from questioning the prevailing system. Entertainment also had the function of allowing the dominant system to replicate itself, which allowed for further expansion in production and consumption. Thus, for Adorno and Horkheimer the culture industry worked in such a way that those who were under its influence would not even notice that they were being manipulated.
Subsequent to the book’s publication in 1947, theorists of the Frankfurt School knew of Adorno's concept of the culture industry, but the impact of his analysis of the culture industry was limited well into the sixties. Dialectic of Enlightenment did not receive a wider distribution until 1969, and although Herbert Marcuse continued the general idea of the culture industry in his One-Dimensional Man of 1964, he did not refer to it as such. In spite of Marcuse’s incisive criticism of dominant ideological structures, there is not a cultural component in his thought that can be separated out from ideology as a whole, as appears in the work of Adorno and Horkheimer. Thus, as a concept relating to communication theory in the United States, the culture industry can more properly be said to have come to existence due to the English translation of Adorno and Horkheimer’s book in 1972.
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