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COURSE No. 1. INTRODUCTION

X tenth century: new media and interpretation of cultural transformations

the twentieth century, the emergence of new technologies is radical alterations in the field of culture. Film, disc, radio, television and internet imply changes in the economy and cultural practices. The book, theater, music hall, popular music, so take new forms. Information systems and communication is also changing when the radio and then television to replace the press as a normal information. These changes give rise to a critical contemporaries. The concepts of mass media and mass culture are developed during the 1930s and then criticized and questioned. We will study the lessons of the second half of both the development of cultural industries and the emergence of critical discourse against them.

I. twentieth century. New Technologies
From the last decade of the nineteenth century, new technologies are emerging which have in common that allow recording and reproducing works by mechanical methods and their dissemination for a mass audience.

a. Cinema (mute) appears in 1895 - The Lumiere Brothers, and industrial Pathe and Gaumont in France creating powerful companies. Edison United States controls the production until 1913. Après quelques  hésitations, la projection publique s’impose comme mode usuel de diffusion des films. Ces derniers sont projetés dans des « théâtres » spécialisés, souvent d’anciens music-halls. Au début des années 1930 les films deviennent « parlants » (1927 « The Jazz Singer  »), ce qui entraîne un renouvellement complet des procédés de tournage et de projection. Les brevets pour l’enregistrement des disques, ceux du cinéma sonore et ceux de la radio sont contrôlés par des firmes apparentées. Les Etats-Unis et l’Allemagne sont en compétition pour le contrôle des  techniques du son.    

b. Disque-radio . Dès les années 1880 on peut enregistrer paroles et musiques sur des rouleaux de cire et le restituer pour une écoute collective. L’inventeur et industriel américain Edison est très présent sur ce marché tandis que le marché européen est dominé par des firmes anglaises, allemandes et française (Marconi, Pathé). Après 1925-30 on procède à des enregistrements électriques sur disques 33 tours. De grosses compagnies se put in place (Edison, Pathe, Decca). From 1922, all industrialized countries, networks of stations broadcasting live from beginning to the combination of advertising and distributing recorded music and entertainment.

c. TV. Prototypes of television sets are presented to the public in late 1930 but the networks for dissemination to the general public does not really make up the United States and Europe after 1945. They take the technical model Economic and broadcast networks: networks of transmitters connected to each other, recording studios centralized funding through advertising. The value of advertising is pegged to the number of listeners. The hearing is measured by special devices ..
d. The appearance of VHS, DVD and Internet (1970-2000) forced to renegotiate the boundaries between the areas and economic interests involved. Only Internet, in the form taken by the network after 2000, amends economy considerably by multiplying the mass media program sources and generalizing the peer exchange.



2. shifts in cultural boundaries

The new media are developed based on know-how developed within the existing cultural fields
Considering the Cinema and forms the narrative we see that the old forms (the tale, the saga) were erased before the new forms preferred by the publishing industry: the novel and the novel series, which gives rise to the series (serial).
draws from the repertoire of writing , considered in its entirety, from the Bible to Western Novel. It also reuses forms of popular theater mime, melodrama, music hall and those of (Melies and magic for example. There are built in parallel as an art scholar (cine-clubs).
Broadcasting course draws in the repertoire of song and du disque (cabaret, music-hall), mais aussi dans celui du théâtre ("drama", Orson Welles), et du livre. Elle adapte la forme de la série et donne naissance aux soap opera.
La télévision recycle à la fois les modèles venus de la radio (série,feuilleton, drame,théâtre en direct, comédie) et ceux venus du cinéma (western). Elle adopte, au cours de ses cinquante première années, le même modèle économique que celui de la radio : une écoute familiale collective, dans l'espace privé ce qui favorise une programmation assez semblable à celle de la radio. 
La multiplication chains in the 1980s, the emergence of the VHS / DVD and internet profoundly alter the pattern of consumption and supply are changing programs. The digitization of images is such aesthetic forms evolve the series and its relationship to cinema as a place of creation.

3. critique of mass culture
These developments are pushing writers and intellectuals to examine the profound transformation of popular culture, culture in general, and the relationship between high culture and popular culture. ;

a. The German sociologist Walter Benjamin s inquires about the loss of sacredness of the artwork in a text written in 1935 and again became famous in the 1970's "The Work of Art in the Age of Mechanical Reproduction. " Regarding the reception, the French writer Georges Duhamel in the 1930 (Scenes of a future life , 1930) examines the difference between the act of reading and that of watching a film, condemning the film (an entertainment helots) .


bL'auteur Canadian Marshall McLuhan in a series of works extremely read in the 1970s, trying to conceptualize the effect on the culture of domination and networks substitution of the image written as dominant medium ( Understanding Media , 1968, The Gutenberg Galaxy, 1967 Message Is Massage, v.1967 ). It was he who introduced the concept of "global village". A dimension that will hold us back not here but is important is the question of manipulation of public opinion through the mass media. The Americans, who attended during the First World War to sophisticated propaganda operations in their own countries produce books on the manipulation of minds.

c. N IRTH concepts of "mass culture" and "industrialization of culture '.
Analysis of" mass media "also leads to develop two related concepts ;: the industrialization of culture and "mass culture". The word "mass", used since the 1930s in the expression "mass culture" has ideological and political connotations that will ensure his fortune first and then decline. It is part of the critical social and political relations of a society where individuals are no longer enrolled in traditional social settings (church, village, occupation) are atomized but within an urban society that does consider more than as consumers. Devoid of structural frames (party, church, nation), these consumers would be vulnerable to manipulation. Moreover, they would have to consume cultural products of poor quality, degraded form of merchandise. Products at low cost in a series by the "cultural industries", the "cultural products" would have lost the creative force and content of criticism of the world that are characteristic of "real" work Art.

This is particularly critical design developed by philosophers and social scientists gathered in the so-called Frankfurt School. Its first members are the German philosophers Theodor Adorno and Max Horkheimer. Forced to leave their chairs at the University of Frankfurt, they took refuge in the United States before returning to Frankfurt in 1953. They are both Marxists and representatives of the German intellectual elite steeped in culture. They are horrified by what they discover in the American mass culture seems to them a manipulation of American capitalism to disorganize the working class. The Dialectic of Enlightenment (published in German in 1947) is a protest as a critical analysis. The philosopher Herbert Marcuse Germano-American who is also in Frankfurt School teaches in California, where he became a reference for the movement of American culture-cons for years 1960-70. In One-Dimensional Man (1964) adapts to the contemporary world the Marxist concept of alienation by showing that the mass media contribute to making contemporary "strangers to themselves," unaware of their true place in the world and their interests, and therefore "insane." also belongs to the Frankfurt School essayist Siegfried Kracauer, who in 1948 published an analysis of German cinema " From Caligari to Hitler, a psychological analysis of German cinema " (published in French in 1973) in which he questioned the political responsibility of the fiction film; The work of the Frankfurt School in Europe will be developed by introducing the thought of German philosopher next generation Jürgen Habermas whose thesis introduces the concept of "public space" Public space: Archaeology of advertising as a constitutive dimension of bourgeois society (1963).

The background of these clearly Marxist thinkers is underlined by other authors, mostly American, who see a bias limiting the relevance of their analysis

d. Cultural studies and the question of popular culture

The cultural studies will address the issue of popular culture of the twentieth century from a perspective that is often involved but also more pragmatic ;; Instead of a philosophical analysis and a blanket condemnation, historians and cultural studies multiply the fine analysis of communicative situation or popular cultural practices and examine how industrialization transformed the culture. Two English authors are important: with Hoggart The Uses of litteracy (1957, translated by The culture of the poor , Editions de Minuit, 1970) offers a sensitive analysis, based on personal experience, culture, English working in the middle twentieth century. Raymond Williams, founder of the New Left review , publishes Culture and Society (1958) and then analyzes the English television, often in reports commissioned by the BBC .
vein American cultural studies is quite different. It is rooted in the desire to reconsider minorities (racial, sexual) and defend their rights. His early work wonder therefore how a dominant culture affects and diminished the representation of subordinate groups in society. They then development studies-colonial and post colonial, adapting to the challenges of the globalized economy of the media in the late twentieth century.

Conclusion . The current analysis of the mass media and their re lations with the transformations popular culture again, often without explicit, concepts or analysis borrowed from the authors cited above. We will consider in the following sessions of the course at a time that we say the historians of the establishment of cultural industries in the twentieth century and representation that have had some of the most influential contemporary.