Frederic Jameson is a Marxist theorist who argues that changes in the economic base of society, from industrial capitalism to late capitalism to an information economy, correspond with changes in the cultural superstructure. Specifically, he notes a shift from production to consumption that is exemplified by postmodern art like pop art, which emphasizes commodification and pastiche over authenticity and critique. Jameson views postmodernism as a symptom of late stage capitalism defined by consumption rather than a revolutionary response.

1. Postmodernism
• Fredric Jameson is a MARXIST
• New Base/Social Order/Economic
Relationship corresponds with changes in
Superstructure, specifically culture (art, music,
film)
• Capitalism  Late Capitalism
• Factory Economy  Information Economy
• Production  Consumption
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2. Henri Toulouse-Lautrec, At the Moulin Rouge, c. 1892
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3. Henri Toulouse-Lautrec, Moulin Rouge - La
Goulue, c. 1891
Impressionism was first seen as an oppositional
artistic style
- Interest in light, the momentary/fleeting
- Often showed the underbelly of society
But as a style, because it was still tied to a
‘realistic’ mode of representation…
It could be easily commodified – used to sell
and advertise things
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4. Modernism, as an artistic style for example, opposed commodification by being ‘non-
representational,’ ‘abstract,’ ‘non-realistic.’
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5. Still Life #28, Tom Wesselmann, 1963
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6. Rather than “resisting”
commodification, pop art took from
the commercial and culture industries
Collapsing of high culture and popular
culture
Emphasis on collage and pastiche
Jameson is opposed to this style without
content
Pop art, an exemplar of
postmodernism, shows a new
emphasis on consumption in a late
capitalist economy
He describes symptoms of this
particular relationship between
postmodernism and late capitalism,
Just What Is It That Makes Today’s Homes So but does not offer a cure.
Different, So Appealing?, Richard Hamilton,
1956
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7. Postmodernism
• Frederic Jameson is a MARXIST
• New Base/Social Order/Economic
Relationship corresponds with changes in
Superstructure, specifically culture (art, music,
film)
• Capitalism  Late Capitalism
• Factory Economy  Information Economy
• Production  Consumption
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8. Popular Culture
• Emerges out of Industrial Revolution – Why?
• Circulation of commodities (new modes of transport)
• Urbanization (creating class stratified neighborhoods)
• Regimentation of Work and Leisure Time
• Mass Production of Cultural Commodities
In Opposition to:
- High Culture – poetry like sonnets, classical music like Beethoven
- Folk Culture – quilting
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9. Theory Applications/Essays Theorist(s)
Culture and Civilization “Culture and Anarchy” Matthew Arnold
Tradition
Marxism Culture Industries; Base Karl Marx but used by
and Superstructure; “On Theodor Adorno and
Popular Music”; Frederic Jameson
“Postmodernism and
Consumer Society”
Hegemony (Marxism 2.0) Cultural Studies Antonio Gramsci but used
(specifically subcultures, by Dick Hebdige, John
textual poachers, fans, Fiske, and Henry Jenkins
“semiotic guerilla
warfare”)
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10. Theorist Theory Historical Context The Beef
Matthew Arnold Culture and “Culture and Working class
Civilization Anarchy,” late 1860s culture = uncivilized,
Tradition England against
industrialization
Theodor Adorno Marxism “On Popular Music,” Popular culture
late 1930s between replicates alienation
Germany and of industrial labor;
England, fleeing serves as distraction
Nazis from class revolution
Dick Hebdige Hegemony via “Subculture: The If popular culture =
Cultural Studies Meaning of Style,” standardization,
late 1970s England what about the
oppositional?
John Fiske Ditto “Jeaning” 1987 US Ditto + participation
Henry Jenkins Ditto “TV fans,” 1992 US Ditto of Fiske
Fredric Jameson Marxism “Postmodernism,” Consumption defines
Early ‘80s US us; Individual no
longer exists
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11. Cultural and Civilization Tradition
• MATTHEW ARNOLD
• (High) CULTURE = CIVILIZATION
– “Sweetness and light”
– “The best of what has been thought and said”
POPULAR CULTURE = ANARCHY
- underlying here is an anxiety about the
working class and industrialization
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12. Marxism
• THEODOR ADORNO
• Base
– Forces of Production – factories, farms,
plantations, etc.
– Relations of Production – proletariat/bourgeoisie;
master/slave; peasant/lord, etc.
Superstructure
- Law; Politics; Religion; Education; Ethics; Philosophy; Art
- CULTURE IS PART OF THE SUPERSTRUCTURE!
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13. Marxism
• Base  Superstructure = Economic Determinism;
VULGAR MARXISM
• Base  Superstructure = Cultural Determinism
• Base  Superstructure = This is what we want!
– The base shapes and conditions the superstructure: it
establishes the terrain on which culture is lived and
experienced
– The superstructure sustains the base: a society’s
culture, law, politics, and religion legitimize its forces
and relations of production
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14. MARXISM : The Culture Industry
• MARXIST CRITIQUE by THEODOR ADORNO
• Base = Mass production
• Superstructure = Mass-produced popular culture,
standardized ideas, conformity, obedience
• Specifically:
– Standardization (The Sitcom)
– Pseudo-individualization (The Office UK vs. US)
– Social Cement (Prime Time TV  end-goal of
obedience)
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15. Hegemony
• Marxism 2.0
• ANTONIO GRAMSCI
– Wrote this theory in prison in Fascist Italy, early 1930s
– Given the oppressive nature of capitalism’s class
relations, why does the proletariat not rise up in
revolution?
– Frames people NOT as docile bodies complicit in their
subjugation
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16. So what is it?
• Hegemony is the process by which the ruling
class actively works to secure the proletariat’s
consent for its moral, cultural, intellectual, and
political leadership.
• Series of negotiations between dominant and
subordinate groups
• As a theory recognizes that people (the
proletariat) have agency. They are NOT
docile/obedient/passive masses.
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17. Hegemony Theory  Cultural Studies
• Dick Hebdige – Subcultures
– Oppositional
– Bricolage – violent
juxtaposition of commodities
and symbols taken from a
wide variety of sources to
create new meanings (Safety
Pins, Swastika)
– Homology – consistency
within a subculture’s stylistic
choices, internal logic (musical
style matching clothing, lyrics,
etc.)
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18. Culture Studies Continued
• TEXTUAL POACHING, Henry Jenkins
• Practice by which fans as active readers assert their
mastery and control over mass-produced texts
• But more than fans, we all poach. We create meaning
through the process of reading.
• We contest the author’s authority and right to determine
what a text means.
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19. Postmodernism
• MARXIST CRITIQUE by Fredric Jameson
• Pastiche – blank parody, visual quotation,
showcasing references; parody without
criticism and without humor
• EXAMPLE: Pastiche of Kill Bill  Telephone
– Lady Gaga and Beyonce (MORE
PASTICHE!)
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20. Bricolage Textual Poaching Pastiche
Who Introduced It Dick Hebdige Henry Jenkins Frederic Jameson
Theory Hegemony via  Ditto Marxism
Cultural Studies
Optimistic vs. Optimistic about OPTIMISTIC Pessimistic about
Pessimistic Subcultures; ABOUT Late Capitalism and
Pessimistic about EVERYONE’S Culture (Base and
Incorporation READINGS! Superstructure)
Hypodermic vs. Participatory Participatory Extreme Hypodermic
Participatory (There is no
individual)
Example Punk Clothing Fan Fiction; Pulp Fiction; Pop
Revisionist Literature Art; Girl Talk
– Wicked, Wide
Sargasso Sea;
Shakespeare in Love
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21. Theorist High Culture Popular Culture
Matthew Arnold Pro Anti
Theodor Adorno Pro Anti
Dick Hebdige Fluid ~~~~~~~~~~~Fluid
Division~~~~~~~~~~~ Division
John Fiske Fluid ~~~~~~~~~~~Fluid
Division~~~~~~~~~~~ Division
Henry Jenkins Fluid ~~~~~~~~~~~Fluid
Division~~~~~~~~~~~ Division
Fredric Jameson There is no distinction --- ----There is no
 distinction
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