By Patricia, Ed. Mellencamp
Logics Of tv: Essays In Cultural feedback, via Mellencamp, Patricia, Ed.
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Extra info for Logics of television : essays in cultural criticism
They always fuck us over" may be a fact but not a law: utopian spaces deny the immutability and authority of facts, and together both spaces refuse the fatality (the fatum, "what has been spoken," destiny decreed) of an established order. This general definition of popular culture as a way of operatingrather than as a set of contents, a marketing category, a reflected expression of social position, or even a "terrain" of struggleis at once in affinity with the thematics of recent cultural studies and also, I think, inflected away from some of its problems.
Another is to project elsewhere a misunderstanding or discouraging Other figure (often that feminist or Marxist Echo, the blast from the past) to necessitate and enable more repetition. The rush of associations runs irresistibly toward a figure of mass culture not as woman but, more specifically, as bimbo. Since the object of projection and identification in postsubcultural theory tends to be black music and "style" rather than the European (and literary) feminine, we find an actantial hero of knowledge emerging in the form of the white male theorist as bimbo.
On the contrary, imperialism and its knowledgesethnology, travel writing, "communications"establish a field in which analysis of popular culture becomes a tactical way of operating. But in order not to be another normative imposition, any "politics" of reading would also have to be articulated on an analysis of poetic practices already in operation. As a way of operating, the practice of everyday life has no place, no borders, no hierarchy of materials Page 31 forbidden or privileged for use: "Barthes reads Proust in Stendhal's text: the viewer reads the landscape of his childhood in the evening news" (xxi).