KCI등재
피스크의 문화적 대중주의에 대한 재고 = Reappraisal of Fiske´s Cultural Populism
저자
발행기관
학술지명
권호사항
발행연도
2002
작성언어
Korean
주제어
KDC
601.000
등재정보
KCI등재
자료형태
학술저널
수록면
277-329(53쪽)
제공처
소장기관
In this paper, I tried to examine the cultural populism of John Fiske, focusing on his main text Understanding Popular Culture and Television Culture. Recently, the somewhat oppositional standpoints about Fiske's cultural populism is represented among the korean left-wing theorists. Some criticize it, claiming that it falls into uncritical populism corresponding to laissez-faire conceptions of consumer sovereignty. For example, Kang Nae-Heui insists that the cultural populism approves the capitalist dominant culture and it is unconcerned about people's pursuits of the multiple ways of life. On the contrary, others defend it, suggesting that the cultural studies should reconstitute the cultural populism in order to activate people's multiple aesthetic attitudes to the utmost. Lee Dong-Yeon argues that the cultural populism could align itself with the minority's cultures inevitably. Therefore, under this circumstances the reappraisal of Fiske's cultural populism should be required. This paper consists of four chapters, as follows.
Chapter 1: The historical context - Mapping the place of Fiske's theoretical status in the whole history of cultural studies.
Chapter 2: The definition of the popular and the popular culture.
Chapter 3: The popular pleasure and the popular discrimination.
Chapter 4: The micro-politics of the popular culture.
In ch.1, the birth of cultural populism is sketched in the context of new revisionism. New revisionism is characterized by the hermeneutic models of consumption, resulting in the shift from political aesthetics to popular aesthetics. This emphasis on the active consumptions of audiences rejects the main ideas derived from Althusser's theory of subject and ideology. Thus, the whole tradition of 'subject positioning theory' is called into question. Researchers turn their attention away from the ideological power of text and toward the individual pleasures and interpretive freedom of readers. Tudor identifies two different, but closely-related ways in this new direction, i. e. 'audience ethnography' and 'cultural populism'. And it is Fiske who is depicted as a Godfather of this kind of cultural study.
In ch.2 & ch.3, brief introduction of Fiske's theory is offered. According to him, the popular is "a shifting set of social allegiances formed by social agents within a social terrain that is theirs only by virtue of their constant refusal to cede it to the imperialism of the powerful." Instead of the theories of subjectivity, he asserts those of the nomadic subjectivity which envision the social agent as moving among various subject positions. The activity of such agency is not that of voluntarism or free will, but is social in that it is the core experience of the subordinate in elaborated, capitalist societies. The people can turn cultural commodities to their own interests and find pleasure, in using them to make their own meanings of their social identities and social relations. For Fiske, the popular culture is to be found in its practices, its uses, its consumptions, not in its texts or their readers. Therefore he argues that all popular culture is a process of struggle or antagonism. "There can be no popular dominant culture, for popular culture is formed always in reactions to, and never as part of, the forces of domination."
In ch.4, I explain the micro-politics of popular culture. Fiske distinguishes between the macro-politics and the micro-politics, between the radical political movements and the progressive popular cultures. On the one side; forces of dominances, processes of incorporation, insidious practices of dominant ideology. On the other side; tactics for coping, vitality and creativity, everyday resistance and evasion. In this respect, we can find easily Foucault's legacy in Fiske's terrain. Fiske argues that the social order, as Foucault analyzes it, depends on the control of people's bodies and behaviors. In other words, the struggle for control is waged on the material terrain of the body and its immediate context. So the culture of everyday life is a culture of concrete practices which embody and perform differences. This is the very sites of popular culture.
In conclusion, I examine some assessments of Fiske's cultural populism. Thereby, I hope illuminate the present lessons from the critical insights of it. First of all, themes of audience empowerment, popular pleasure and everyday resistances in Fiske's theory play the role to correct the former 'pessimistic reductionism' of cultural studies. But Fiske's corrective is nothing but return to the opposed position against it. The same dualistic framework is remained unchanged. What is crucial is not an insistences on micro-meaning and popular pleasure against macro-structure and constraint, but an attempt to rethink the form relation between these two in non-reductive and non-dualistic terms. Moreover, Pleasure is neither innocent nor progressive in itself. Pleasure and resistance cannot be valorized per se as progressive elements of the consumption of cultural resources. Likewise, the mere valorization of difference as a mark of opposition can simply help the free market ideology in the new liberalism. Therefore, the minority-culture movement aligned this kind of cultural populism, explicitly or implicitly, is required more careful examinations.
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