Theodor Adorno and Max Horkheimer:

The Dialectic of Enlightenment

(First published 1944)

The Culture Industry: Enlightenment as Mass Deception

(drafted 1942 1944)
[The text below is a series of extracts from this chapter. It is radically incomplete but gives something of the flavor of Adorno/Horkheimer s arguments. The !uotes in bold are simply some of the sentences in these sections that for me resonate most strongly with the issues we are discussing.". The so!iolo"i!al theor# that the loss of the support of ob$e!ti%el# established reli"ion& the dissolution of the last remnants of pre !apitalism& to"ether 'ith te!hnolo"i!al and so!ial differentiation or spe!iali(ation& ha%e led to !ultural !haos is dispro%ed e%er# da#) for culture now impresses the same stamp on everything* Films radio and maga!ines ma"e up a system which is uniform as a whole and in every part# Even the aesthetic activities of political opposites are one in their enthusiastic o$edience to the rhythm of the iron system# The de!orati%e industrial mana"ement buildin"s and exhibition !enters in authoritarian !ountries are mu!h the same as an#'here else* The hu"e "leamin" to'ers that shoot up e%er#'here are out'ard si"ns of the in"enious plannin" of international !on!erns& to'ard 'hi!h the unleashed entrepreneurial s#stem ('hose monuments are a mass of "loom# houses and business premises in "rim#& spiritless !ities) 'as alread# hastenin"* +%en no' the older houses $ust outside the !on!rete !it# !enters look like slums& and the ne' bun"alo's on the outskirts are at one 'ith the flims# stru!tures of 'orld fairs in their praise of te!hni!al pro"ress and their built in demand to be dis!arded after a short 'hile like empt# food !ans* ,et the !it# housin" pro$e!ts desi"ned to perpetuate the indi%idual as a supposedl# independent unit in a small h#"ieni! d'ellin" make him all the more subser%ient to his ad%ersar# the absolute po'er of !apitalism* -e!ause the inhabitants& as produ!ers and as !onsumers& are dra'n into the !entre in sear!h of 'ork and pleasure& all the li%in" units !r#stalli(e into 'ell or"ani(ed !omplexes* The stri"ing unity of microcosm and macrocosm presents men with a model of their culture: the false identity of the general and the particular# %nder monopoly all mass culture is identical and the lines of its artificial framewor" $egin to show through# The people at the top are no longer so interested in concealing monopoly: as its violence $ecomes more open so its power grows# Movies and radio need no longer pretend to $e art# The truth that they are &ust $usiness is made into an ideology in order to &ustify the ru$$ish they deli$erately produce# They call themselves industries' and when their directors( incomes are pu$lished any dou$t a$out the social utility of the finished products is removed# Interested parties e)plain the culture industry in technological terms# It is alleged that $ecause millions participate in it certain reproduction processes are necessary that inevita$ly re*uire identical needs in innumera$le places to $e satisfied with identical goods# The technical contrast $etween the few production centers and the large num$er of widely dispersed consumption points is said to demand organi!ation and planning $y management# Furthermore it is claimed that standards were $ased in the first place on consumers( needs and for that reason were accepted with so little resistance# The result is the circle of manipulation and retroactive need in which the unity of the system grows ever stronger# +o mention is made of the fact that the $asis on which technology ac*uires power over society is the power of those whose economic hold over society is greatest# A te!hnolo"i!al rationale

is the rationale of domination itself# It is the coercive nature of society alienated from itself# ,utomo$iles $om$s and movies "eep the whole thing together until their leveling element shows its strength in the very wrong which it furthered# It has made the technology of the culture industry no more than the achievement of standardi!ation and mass production sacrificing whatever involved a distinction $etween the logic of the wor" and that of the social system# This is the result not of a law of movement in technology as such $ut of its function in today(s economy# The need 'hi!h mi"ht resist !entral !ontrol has alread# been suppressed b# the !ontrol of the indi%idual !ons!iousness* The step from the telephone to the radio has clearly distinguished the roles# The former still allowed the su$scri$er to play the role of su$&ect and was li$eral# The latter is democratic: it turns all participants into listeners and authoritatively su$&ects them to $roadcast programs which are all e)actly the same# +o machinery of re&oinder has $een devised and private $roadcasters are denied any freedom# They are confined to the apocryphal field of the (amateur( and also have to accept organi!ation from a$ove# -ut any trace of spontaneity from the pu$lic in official $roadcasting is controlled and a$sor$ed $y talent scouts studio competitions and official programs of every "ind selected $y professionals# Talented performers $elong to the industry long $efore it displays them' otherwise they would not $e so eager to fit in# The attitude of the publi!& 'hi!h ostensibl# and a!tuall# fa%ors the s#stem of the !ulture industr#& is a part of the s#stem and not an ex!use for it* .f one bran!h of art follo's the same formula as one 'ith a %er# different medium and !ontent) if the dramati! intri"ue of broad!ast soap operas be!omes no more than useful material for sho'in" ho' to master te!hni!al problems at both ends of the s!ale of musi!al experien!e/real $a(( or a !heap imitation) or if a mo%ement from a -eetho%en s#mphon# is !rudel# 0adapted0 for a film sound tra!k in the same 'a# as a Tolsto# no%el is "arbled in a film s!ript: then the !laim that this is done to satisf# the spontaneous 'ishes of the publi! is no more than hot air* 1e are !loser to the fa!ts if 'e explain these phenomena as inherent in the te!hni!al and personnel apparatus 'hi!h& do'n to its last !o"& itself forms part of the e!onomi! me!hanism of sele!tion* .n addition there is the a"reement or at least the determination 2 of all exe!uti%e authorities not to produ!e or san!tion an#thin" that in an# 'a# differs from their o'n rules& their o'n ideas about !onsumers& or abo%e all themsel%es* 3 The ruthless unit# in the !ulture industr# is e%iden!e of 'hat 'ill happen in politi!s* Marked differentiations su!h as those of A and - films& or of stories in ma"a(ines in different pri!e ran"es& depend not so mu!h on sub$e!t matter as on !lassif#in"& or"ani(in"& and labelin" !onsumers* 4omethin" is pro%ided for all so that none ma# es!ape) the distin!tions are emphasi(ed and extended* The publi! is !atered for 'ith a hierar!hi!al ran"e of mass produ!ed produ!ts of %ar#in" 5ualit#& thus ad%an!in" the rule of !omplete 5uantifi!ation* +%er#bod# must beha%e (as if spontaneousl#) in a!!ordan!e 'ith his pre%iousl# determined and indexed le%el& and !hoose the !ate"or# of mass produ!t turned out for his t#pe* 6onsumers appear as statisti!s on resear!h or"ani(ation !harts& and are di%ided b# in!ome "roups into red& "reen& and blue areas) the te!hni5ue is that used for an# t#pe of propa"anda* Ho' formali(ed the pro!edure is !an be seen 'hen the me!hani!all# differentiated produ!ts pro%e to be all alike in the end* That the differen!e bet'een the 6hr#sler ran"e and 7eneral Motors produ!ts is basi!all# illusor# strikes e%er# !hild 'ith a keen interest in %arieties* 1hat !onnoisseurs dis!uss as "ood or bad points ser%e onl# to perpetuate the semblan!e of !ompetition and ran"e of !hoi!e* The same applies to the 1arner -rothers and Metro 7old'#n Ma#er produ!tions* -ut e%en the differen!es bet'een the more expensi%e and !heaper models put out b# the same firm steadil# diminish: for automobiles& there are su!h differen!es as the

number of !#linders& !ubi! !apa!it#& details of patented "ad"ets) and for films there are the number of stars& the extra%a"ant use of te!hnolo"#& labor& and e5uipment& and the introdu!tion of the latest ps#!holo"i!al formulas* The uni%ersal !riterion of merit is the amount of 8!onspi!uous produ!tion0& of blatant !ash in%estment* The %ar#in" bud"ets in the !ulture industr# do not bear the sli"htest relation to fa!tual %alues& to the meanin" of the produ!ts themsel%es* Even the technical media are relentlessly forced into uniformity# Television aims at a synthesis of radio and film and is held up only $ecause the interested parties have not yet reached agreement $ut its conse*uences will $e *uite enormous and promise to intensify the impoverishment of aesthetic matter so drastically & that b# tomorro' the thinl# %eiled identit# of all industrial !ulture produ!ts !an !ome triumphantl# out into the open& derisi%el# fulfillin" the 1a"nerian dream of the 7esamtkunst'erk/the fusion of all the arts in one 'ork* The allian!e of 'ord& ima"e& and musi! is all the more perfe!t than in Tristan be!ause the sensuous elements 'hi!h all appro%in"l# refle!t the surfa!e of so!ial realit# are in prin!iple embodied in the same te!hni!al pro!ess& the unit# of 'hi!h be!omes its distin!ti%e !ontent* This pro!ess inte"rates all the elements of the produ!tion& from the no%el (shaped 'ith an e#e to the film) to the last sound effe!t* .t is the triumph of in%ested !apital& 'hose title as absolute master is et!hed deep into the hearts of the dispossessed in the emplo#ment line) it is the meanin"ful !ontent of e%er# film& 'hate%er plot the produ!tion team ma# ha%e sele!ted* The 'hole 'orld is made to pass throu"h the filter of the !ulture industr#* The old experien!e of the mo%ie "oer& 'ho sees the 'orld outside as an extension of the film he has $ust left (be!ause the latter is intent upon reprodu!in" the 'orld of e%er#da# per!eptions)& is no' the produ!er0s "uideline* The more intensel# and fla'lessl# his te!hni5ues dupli!ate empiri!al ob$e!ts& the easier it is toda# for the illusion to pre%ail that the outside 'orld is the strai"htfor'ard !ontinuation of that presented on the s!reen* This purpose has been furthered b# me!hani!al reprodu!tion sin!e the li"htnin" takeo%er b# the sound film* 9eal life is be!omin" indistin"uishable from the mo%ies* The sound film& far surpassin" the theatre of illusion& lea%es no room for ima"ination or refle!tion on the part of the audien!e& 'ho is unable to respond 'ithin the stru!ture of the film& #et de%iate from its pre!ise detail 'ithout losin" the thread of the stor#) hen!e the film for!es its %i!tims to e5uate it dire!tl# 'ith realit#* The stunting of the mass.media consumer(s powers of imagination and spontaneity does not have to $e traced $ac" to any psychological mechanisms' he must ascri$e the loss of those attri$utes to the o$&ective nature of the products themselves especially to the most characteristic of them the sound film# They are so designed that *uic"ness powers of o$servation and e)perience are undenia$ly needed to apprehend them at all' yet sustained thought is out of the *uestion if the spectator is not to miss the relentless rush of facts# +%en thou"h the effort re5uired for his response is semiautomati!& no s!ope is left for the ima"ination* Those 'ho are so absorbed b# the 'orld of the mo%ie/b# its ima"es& "estures& and 'ords/that the# are unable to suppl# 'hat reall# makes it a 'orld& do not ha%e to d'ell on parti!ular points of its me!hani!s durin" a s!reenin"* ,ll the other films and products of the entertainment industry which they have seen have taught them what to e)pect' they react automatically * The mi"ht of industrial so!iet# is lod"ed in men0s minds* The entertainments manufa!turers kno' that their produ!ts 'ill be !onsumed 'ith alertness e%en 'hen the !ustomer is distrau"ht& for ea!h of them is a model of the hu"e e!onomi! ma!hiner# 'hi!h has al'a#s sustained the masses& 'hether at 'ork or at leisure 'hi!h is akin to 'ork# From every sound film and every $roadcast program the social effect can $e inferred which is e)clusive to none $ut is shared $y all ali"e# The culture industry as a whole has molded men as a type unfailingly reproduced in every product# ,ll the agents of this process from the producer to the

women(s clu$s ta"e good care that the simple reproduction of this mental state is not nuanced or e)tended in any way# The art historians and guardians of culture who complain of the e)tinction in the /est of a $asic style.determining power are wrong# The stereotyped appropriation of everything even the inchoate for the purposes of mechanical reproduction surpasses the rigor and general currency of any (real style( in the sense in which cultural cognoscenti cele$rate the organic precapitalist past# :o ;alestrina !ould be more of a purist in eliminatin" e%er# unprepared and unresol%ed dis!ord than the $a(( arran"er in suppressin" an# de%elopment 'hi!h does not !onform to the $ar"on* 1hen $a((in" up Mo(art he !han"es him not onl# 'hen he is too serious or too diffi!ult but 'hen he harmoni(es the melod# in a different 'a#& perhaps more simpl#& than is !ustomar# no'* :o medie%al builder !an ha%e s!rutini(ed the sub$e!ts for !hur!h 'indo's and s!ulptures more suspi!iousl# than the studio hierar!h# s!rutini(es a 'ork b# -al(a! or Hu"o before finall# appro%in" it* :o medie%al theolo"ian !ould ha%e determined the de"ree of the torment to be suffered b# the damned in a!!ordan!e 'ith the ordo of di%ine lo%e more meti!ulousl# than the produ!ers of shodd# epi!s !al!ulate the torture to be under"one b# the hero or the exa!t point to 'hi!h the leadin" lad#0s hemline shall be raised* The expli!it and impli!it& esoteri! and esoteri! !atalo"ue of the forbidden and tolerated is so extensi%e that it not onl# defines the area of freedom but is all po'erful inside it* +%er#thin" do'n to the last detail is shaped a!!ordin"l#* <ike its !ounterpart& a%ant "arde art& the entertainment industr# determines its o'n lan"ua"e& do'n to its %er# s#ntax and %o!abular#& b# the use of anathema* The constant pressure to produce new effects 0which must conform tothe old pattern1 serves merely as another rule to increase the power of the conventions when any single effect threatens to slip through the net# Every detail is so firmly stamped with sameness that nothing can appear which is not mar"ed at $irth or does not meet with approval at first sight# ,nd the star performers whether they produce or reproduce use this &argon as freely and fluently and with as much gusto as if it were the very language which it silenced long ago# 2uch is the ideal of what is natural in this field of activity and its influence $ecomes all the more powerful the more techni*ue is perfected and diminishes the tension $etween the finished product and everyday life# The paradox of this routine& 'hi!h is essentiall# tra%est#& !an be dete!ted and is often predominant in e%er#thin" that the !ulture industr# turns out* A $a(( musi!ian 'ho is pla#in" a pie!e of serious musi!& one of -eetho%en0s simplest minuets& s#n!opates it in%oluntaril# and 'ill smile super!iliousl# 'hen asked to follo' the normal di%isions of the beat* This is the 0nature0 'hi!h& !ompli!ated b# the e%er present and extra%a"ant demands of the spe!ifi! medium& !onstitutes the ne' st#le and is a 0s#stem of non!ulture& to 'hi!h one mi"ht e%en !on!ede a !ertain =unit# of st#le= if it reall# made an# sense to speak of st#li(ed barbarit#0* The uni%ersal imposition of this st#li(ed mode !an e%en "o be#ond 'hat is 5uasioffi!iall# san!tioned or forbidden) toda# a hit son" is more readil# for"i%en for not obser%in" the >2 beats or the !ompass of the ninth than for !ontainin" e%en the most !landestine melodi! or harmoni! detail 'hi!h does not !onform to the idiom* /henever 3rson /elles offends against the tric"s of the trade he is forgiven $ecause his departures from the norm are regarded as calculated mutations which serve all the more strongly to confirm the validity of the system# The !onstraint of the te!hni!all# !onditioned idiom 'hi!h stars and dire!tors ha%e to produ!e as 0nature0 so that the people !an appropriate it& extends to su!h fine nuan!es that the# almost attain the subtlet# of the de%i!es of an a%ant "arde 'ork as a"ainst those of truth* The rare !apa!it# minutel# to fulfill the obli"ations of the natural idiom in all bran!hes of the !ulture industr# be!omes the !riterion of effi!ien!#* 1hat and ho' the# sa# it must be measurable b#

e%er#da# lan"ua"e& as in lo"i!al positi%ism* The produ!ers are experts* The idiom demands an astoundin" produ!ti%e po'er& 'hi!h it absorbs and s5uanders* .n a diaboli!al 'a# it has o%errea!hed the !ulturall# !onser%ati%e distin!tion bet'een "enuine and artifi!ial st#le* A st#le mi"ht be !alled artifi!ial 'hi!h is imposed from 'ithout on the refra!tor# impulses of a form* -ut in the !ulture industr# e%er# element of the sub$e!t matter has its ori"in in the same apparatus as that $ar"on 'hose stamp it bears* The 5uarrels in 'hi!h the artisti! experts be!ome in%ol%ed 'ith sponsor and !ensor about "oin" be#ond the bounds of !redibilit# are e%iden!e not so mu!h of an inner aestheti! tension as of a di%er"en!e of interests* The reputation of the spe!ialist& in 'hi!h a last remnant of ob$e!ti%e independen!e sometimes finds refu"e& !onfli!ts 'ith the business politi!s of the 6hur!h& or the !on!ern 'hi!h is manufa!turin" the !ultural !ommodit#* -ut the thin" itself has been essentiall# ob$e!tified and made %iable before the established authorities be"an to ar"ue about it* +%en before ?anu!k a!5uired her& 4aint -ernadette 'as re"arded b# her latter da# ha"io"rapher as brilliant propa"anda for all interested parties* That is 'hat be!ame of the emotions of the !hara!ter* Hen!e the st#le of the !ulture industr#& 'hi!h no lon"er has to test itself a"ainst an# refra!tor# material& is also the ne"ation of st#le* The re!on!iliation of the "eneral and parti!ular& of the rule and the spe!ifi! demands of the sub$e!t matter& the a!hie%ement of 'hi!h alone "i%es essential& meanin"ful !ontent to st#le& is futile be!ause there has !eased to be the sli"htest tension bet'een opposite poles: these !on!ordant extremes are dismall# identi!al) the "eneral !an repla!e the parti!ular& and %i!e %ersa* :e%ertheless& this !ari!ature of st#le does not amount to somethin" be#ond the "enuine st#le of the past* .n the !ulture industr# the notion of "enuine st#le is seen to be the aestheti! e5ui%alent of domination* 4t#le !onsidered as mere aestheti! re"ularit# is a romanti! dream of the past* The unit# of st#le not onl# of the 6hristian Middle A"es but of the 9enaissan!e expresses in ea!h !ase the different stru!ture of so!ial po'er& and not the obs!ure experien!e of the oppressed in 'hi!h the "eneral 'as en!losed The great artists were never those who em$odied a wholly flawless and perfect style $ut those who used style as a way of hardening themselves against the chaotic e)pression of suffering as a negative truth# The st#le of their 'orks "a%e 'hat 'as expressed that for!e 'ithout 'hi!h life flo's a'a# unheard* Those %er# art forms 'hi!h are kno'n as !lassi!al& su!h as Mo(art0s musi!& !ontain ob$e!ti%e trends 'hi!h represent somethin" different to the st#le 'hi!h the# in!arnate* As late as 4!honber" and ;i!asso& the "reat artists ha%e retained a mistrust of st#le& and at !ru!ial points ha%e subordinated it to the lo"i! of the matter* 1hat @adaists and +xpressionists !alled the untruth of st#le as su!h triumphs toda# in the sun" $ar"on of a !rooner& in the !arefull# !ontri%ed ele"an!e of a film star& and e%en in the admirable expertise of a photo"raph of a peasant0s s5ualid hut* 4t#le represents a promise in e%er# 'ork of art* That 'hi!h is expressed is subsumed throu"h st#le into the dominant forms of "eneralit#& into the lan"ua"e of musi!& paintin"& or 'ords& in the hope that it 'ill be re!on!iled thus 'ith the idea of true "eneralit#* This promise held out b# the 'ork of art that it 'ill !reate truth b# lendin" ne' shape to the !on%entional so!ial forms is as ne!essar# as it is h#po!riti!al* .t un!onditionall# posits the real forms of life as it is b# su""estin" that fulfillment lies in their aestheti! deri%ati%es* To this extent the !laim of art is al'a#s ideolo"# too* Ho'e%er& onl# in this !onfrontation 'ith tradition of 'hi!h st#le is the re!ord !an art express sufferin"* That fa!tor in a 'ork of art 'hi!h enables it to trans!end realit# !ertainl# !annot be deta!hed from st#le) but it does not !onsist of the harmon# a!tuall# reali(ed& of an# doubtful unit# of form and !ontent& 'ithin and 'ithout& of indi%idual and so!iet#) it is to be found in those features in 'hi!h dis!repan!# appears: in the ne!essar# failure of the passionate stri%in" for identit#* .nstead of exposin" itself to this failure in 'hi!h the st#le of the "reat 'ork of art has al'a#s a!hie%ed selfne"ation& the inferior 'ork has al'a#s relied on its similarit# 'ith others on a surro"ate identit#*

.n the !ulture industr# this imitation finall# be!omes absolute* Ha%in" !eased to be an#thin" but st#le& it re%eals the latter0s se!ret: obedien!e to the so!ial hierar!h#* Today aesthetic $ar$arity completes what has threatened the creations of the spirit since they were gathered together as culture and neutrali!ed# To speak of !ulture 'as al'a#s !ontrar# to !ulture* 6ulture as a !ommon denominator alread# !ontains in embr#o that s!hemati(ation and pro!ess of !atalo"uin" and !lassifi!ation 'hi!h brin" !ulture 'ithin the sphere of administration* And it is pre!isel# the industriali(ed& the !onse5uent& subsumption 'hi!h entirel# a!!ords 'ith this notion of !ulture* -# subordinatin" in the same 'a# and to the same end all areas of intelle!tual !reation& b# o!!up#in" men0s senses from the time the# lea%e the fa!tor# in the e%enin" to the time the# !lo!k in a"ain the next mornin" 'ith matter that bears the impress of the labor pro!ess the# themsel%es ha%e to sustain throu"hout the da#& this subsumption mo!kin"l# satisfies the !on!ept of a unified !ulture 'hi!h the philosophers of personalit# !ontrasted 'ith mass !ulture* The culture industry perpetually cheats its consumers of what it promises# The promissory note which with its plots and staging it draws on pleasure is endlessly prolonged' the promise which is actually all the spectacle consists of is illusory: all it actually confirms is that the real point will never $e reached that the diner must $e satisfied with the menu# In front of the appetite stimulated $y all those $rilliant names and images there is finally set no more than a commendation of the depressing everyday world it sought to escape* Af !ourse 'orks of art 'ere not sexual exhibitions either* Ho'e%er& b# representin" depri%ation as ne"ati%e& the# retra!ted& as it 'ere& the prostitution of the impulse and res!ued b# mediation 'hat 'as denied* The se!ret of aestheti! sublimation is its representation of fulfillment as a broken promise* The !ulture industr# does not sublimate) it represses* -# repeatedl# exposin" the ob$e!ts of desire& breasts in a !lin"in" s'eater or the naked torso of the athleti! hero& it onl# stimulates the unsublimated forepleasure 'hi!h habitual depri%ation has lon" sin!e redu!ed to a maso!histi! semblan!e* There is no eroti! situation 'hi!h& 'hile insinuatin" and ex!itin"& does not fail to indi!ate unmistakabl# that thin"s !an ne%er "o that far* The Ha#s Affi!e merel# !onfirms the ritual of Tantalus that the !ulture industr# has established an#'a#* /or"s of art are ascetic and unashamed' the culture industry is pornographic and prudish# 4ove is downgraded to romance# ,nd after the descent much is permitted' even license as a mar"eta$le specialty has its *uota $earing the trade description (daring(# The mass production of the se)ual automatically achieves its repression# -ecause of his u$i*uity the film star with whom one is meant to fall in love is from the outset a copy of himself# Every tenor voice comes to sound li"e a Caruso record and the (natural( faces of Te)as girls are li"e the successful models $y whom 5ollywood has typecast them# The me!hani!al reprodu!tion of beaut#& 'hi!h rea!tionar# !ultural fanati!ism 'holeheartedl# ser%es in its methodi!al idoli(ation of indi%idualit#& lea%es no room for that un!ons!ious idolatr# 'hi!h 'as on!e essential to beaut#* The triumph o%er beaut# is !elebrated b# humor/the 4!hadenfreude that e%er# su!!essful depri%ation !alls forth* There is laughter $ecause there is nothing to laugh at# <au"hter& 'hether !on!iliator# or terrible& al'a#s o!!urs 'hen some fear passes* .t indi!ates liberation either from ph#si!al dan"er or from the "rip of lo"i!* 6on!iliator# lau"hter is heard as the e!ho of an es!ape from po'er) the 'ron" kind o%er!omes fear b# !apitulatin" to the for!es 'hi!h are to be feared* .t is the e!ho of po'er as somethin" ines!apable* Fun is a medi!inal bath* The pleasure industr# ne%er fails to pres!ribe it* .t makes lau"hter the instrument of the fraud pra!ti!ed on happiness* Moments of happiness are 'ithout lau"hter) onl# operettas and films portra# sex to the a!!ompaniment of resoundin" lau"hter* -ut

-audelaire is as de%oid of humor as Holderlin* .n the false so!iet# lau"hter is a disease 'hi!h has atta!ked happiness and is dra'in" it into its 'orthless totalit#* To lau"h at somethin" is al'a#s to deride it& and the life 'hi!h& a!!ordin" to -er"son& in lau"hter breaks throu"h the barrier& is a!tuall# an in%adin" barbari! life& self assertion prepared to parade its liberation from an# s!ruple 'hen the so!ial o!!asion arises* 4u!h a lau"hin" audien!e is a parod# of humanit#* .ts members are monads& all dedi!ated to the pleasure of bein" read# for an#thin" at the expense of e%er#one else* Their harmon# is a !ari!ature of solidarit#* 1hat is fiendish about this false lau"hter is that it is a !ompellin" parod# of the best& 'hi!h is !on!iliator#* @eli"ht is austere: res se%era %erum "audium* The monasti! theor# that not as!eti!ism but the sexual a!t denotes the renun!iation of attainable bliss re!ei%es ne"ati%e !onfirmation in the "ra%it# of the lo%er 'ho 'ith forebodin" !ommits his life to the fleetin" moment* .n the !ulture industr#& $o%ial denial takes the pla!e of the pain found in e!stas# and in as!eti!ism* The supreme la' is that the# shall not satisf# their desires at an# pri!e) the# must lau"h and be !ontent 'ith lau"hter* In every product of the culture industry the permanent denial imposed $y civili!ation is once again unmista"a$ly demonstrated and inflicted on its victims# To offer and to depri%e them of somethin" is one and the same* This is 'hat happens in eroti! films* ;re!isel# be!ause it must ne%er take pla!e& e%er#thin" !enters upon !opulation* .n films it is more stri!tl# forbidden for an ille"itimate relationship to be admitted 'ithout the parties bein" punished than for a millionaire0s future son in la' to be a!ti%e in the labor mo%ement* .n !ontrast to the liberal era& industriali(ed as 'ell as popular !ulture ma# 'ax indi"nant at !apitalism& but it !annot renoun!e the threat of !astration* This is fundamental* .t outlasts the or"ani(ed a!!eptan!e of the uniformed seen in the films 'hi!h are produ!ed to that end& and in realit#* /hat is decisive today is no longer 6uritanism 7 $ut the necessity inherent in the system not to leave the customer alone not for a moment to allow him any suspicion that resistance is possi$le# The principle dictates that he should $e shown all his needs as capa$le of fulfillment $ut that those needs should $e so predetermined that he feels himself to $e the eternal consumer the o$&ect of the culture industry# +ot only does it ma"e him $elieve that the deception it practices is satisfaction $ut it goes further and implies that whatever the state of affairs he must put up with what is offered# The es!ape from e%er#da# drud"er# 'hi!h the 'hole !ulture industr# promises ma# be !ompared to the dau"hter0s abdu!tion in the !artoon: the father is holdin" the ladder in the dark* The paradise offered b# the !ulture industr# is the same old drud"er#* -oth es!ape and elopement are predesi"ned to lead ba!k to the startin" point* ;leasure promotes the resi"nation 'hi!h it ou"ht to help to for"et* Amusement& if released from e%er# restraint& 'ould not onl# be the antithesis of art but its extreme role* The Mark T'ain absurdit# 'ith 'hi!h the Ameri!an !ulture industr# flirts at times mi"ht be a !orre!ti%e of art* The more seriousl# the latter re"ards the in!ompatibilit# 'ith life& the more it resembles the seriousness of life& its antithesis) the more effort it de%otes to de%elopin" 'holl# from its o'n formal la'& the more effort it demands from the intelli"en!e to neutrali(e its burden* .n some re%ue films& and espe!iall# in the "rotes5ue and the funnies& the possibilit# of this ne"ation does "limmer for a fe' moments* -ut of !ourse it !annot happen* ;ure amusement in its !onse5uen!e& relaxed self surrender to all kinds of asso!iations and happ# nonsense& is !ut short b# the amusement on the market: instead& it is interrupted b# a surro"ate o%erall meanin" 'hi!h the !ulture industr# insists on "i%in" to its produ!ts& and #et misuses as a mere pretext for brin"in" in the stars* -io"raphies and other simple stories pat!h the fra"ments of nonsense into an idioti! plot* 1e do not ha%e the !ap and bells of the $ester but the bun!h of ke#s of !apitalist reason& 'hi!h e%en s!reens the pleasure of a!hie%in" su!!ess* +%er# kiss in the re%ue film has to !ontribute to the !areer of the boxer& or some hit son" expert or other 'hose rise to fame is bein" "lorified* The de!eption is not that the !ulture industr# supplies amusement but that it ruins the fun b# allo'in" business !onsiderations to

in%ol%e it in the ideolo"i!al !li!hBs of a !ulture in the pro!ess of self li5uidation* +thi!s and taste !ut short unrestrained amusement as 0nai%e0 nai%etB is thou"ht to be as bad as intelle!tualism and e%en restri!t te!hni!al possibilities* The !ulture industr# is !orrupt) not be!ause it is a sinful -ab#lon but be!ause it is a !athedral dedi!ated to ele%ated pleasure* An all le%els& from Hemin"'a# to +mil <ud'i"& from Mrs* Mini%er to The <one 9an"er& from Tos!anini to 7u# <ombardo& there is untruth in the intelle!tual !ontent taken read# made from art and s!ien!e* The !ulture industr# does retain a tra!e of somethin" better in those features 'hi!h brin" it !lose to the !ir!us& in the self $ustif#in" and nonsensi!al skill of riders& a!robats and !lo'ns& in the Cdefense and $ustifi!ation of ph#si!al as a"ainst intelle!tual art*D -ut the refu"es of a mindless artistr# 'hi!h represents 'hat is human as opposed to the so!ial me!hanism are bein" relentlessl# hunted do'n b# a s!hemati! reason 'hi!h !ompels e%er#thin" to pro%e its si"nifi!an!e and effe!t* The !onse5uen!e is that the nonsensi!al at the bottom disappears as utterl# as the sense in 'orks of art at the top* In the culture industry the individual is an illusion not merely $ecause of the standardi!ation of the means of production# 5e is tolerated only so long as his complete identification with the generality is un*uestioned# 6seudo individuality is rife: from the standardi!ed &a!! improvisation to the e)ceptional film star whose hair curls over her eye to demonstrate her originality# /hat is individual is no more than the generality(s power to stamp the accidental detail so firmly that it is accepted as such# The defiant reserve or elegant appearance of the individual on show is mass.produced li"e 8ale loc"s whose only difference can $e measured in fractions of millimeters# The pe!uliarit# of the self is a monopol# !ommodit# determined b# so!iet#) it is falsel# represented as natural* .t is no more than the mousta!he& the Fren!h a!!ent& the deep %oi!e of the 'oman of the 'orld& the <ubits!h tou!h: fin"er prints on identit# !ards 'hi!h are other'ise exa!tl# the same& and into 'hi!h the li%es and fa!es of e%er# sin"le person are transformed b# the po'er of the "eneralit#* ;seudo indi%idualit# is the prere5uisite for !omprehendin" tra"ed# and remo%in" its poison: onl# be!ause indi%iduals ha%e !eased to be themsel%es and are no' merel# !enters 'here the "eneral tenden!ies meet& is it possible to re!ei%e them a"ain& 'hole and entire& into the "eneralit#* .n this 'a# mass !ulture dis!loses the fi!titious !hara!ter of the 0indi%idual0 in the bour"eois era& and is merel# un$ust in boastin" on a!!ount of this drear# harmon# of "eneral and parti!ular* The prin!iple of indi%idualit# 'as al'a#s full of !ontradi!tion* .ndi%iduation has ne%er reall# been a!hie%ed* 4elf preser%ation in the shape of !lass has kept e%er#one at the sta"e of a mere spe!ies bein"* +%er# bour"eois !hara!teristi!& in spite of its de%iation and indeed be!ause of it& expressed the same thin": the harshness of the !ompetiti%e so!iet#* The indi%idual 'ho supported so!iet# bore its disfi"urin" mark) seemin"l# free& he 'as a!tuall# the produ!t of its e!onomi! and so!ial apparatus* ;o'er based itself on the pre%ailin" !onditions of po'er 'hen it sou"ht the appro%al of persons affe!ted b# it* As it pro"ressed& bour"eois so!iet# did also de%elop the indi%idual* ,gainst the will of its leaders technology has changed human $eings from children into persons* 5owever every advance in individuation of this "ind too" place at the e)pense of the individuality in whose name it occurred so that nothing was left $ut the resolve to pursue one(s own particular purpose* The bour"eois 'hose existen!e is split into a business and a pri%ate life& 'hose pri%ate life is split into keepin" up his publi! ima"e and intima!#& 'hose intima!# is split into the surl# partnership of marria"e and the bitter !omfort of bein" 5uite alone& at odds 'ith himself and e%er#bod# else& is alread# %irtuall# a :a(i& replete both 'ith enthusiasm and abuse) or a modern !it# d'eller 'ho !an no ' onl# ima"ine friendship as a Cso!ial !onta!tD: that is& as bein" in so!ial !onta!t 'ith others 'ith 'hom he has no in'ard !onta!t* The onl# reason 'h# the !ulture industr# !an deal so su!!essfull# 'ith indi%idualit# is

that the latter has al'a#s reprodu!ed the fra"ilit# of so!iet#* An the fa!es of pri%ate indi%iduals and mo%ie heroes put to"ether a!!ordin" to the patterns on ma"a(ine !o%ers %anishes a preten!e in 'hi!h no one no' belie%es) the popularit# of the hero models !omes partl# from a se!ret satisfa!tion that the effort to a!hie%e indi%iduation has at last been repla!ed b# the effort to imitate& 'hi!h is admittedl# more breathless* .t is idle to hope that this self !ontradi!tor#& disinte"ratin" CpersonD 'ill not last for "enerations& that the s#stem must !ollapse be!ause of su!h a ps#!holo"i!al sprit& or that the de!eitful substitution of the stereot#pe for the indi%idual 'ill of itself be!ome unbearable for mankind* 4in!e 4hakespeare0s Hamlet& the unit# of the personalit# has been seen throu"h as a preten!e* 4#ntheti!all# produ!ed ph#sio"nomies sho' that the people of toda# ha%e alread# for"otten that there 'as e%er a notion of 'hat human life 'as* For !enturies so!iet# has been preparin" for Ei!tor Mature and Mi!ke# 9oone#* -# destro#in" the# !ome to fulfill*