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This article presents an analysis of the cartoon "Meu AmigãoZão", who calls himself as "educative cartoon". The analyzes focus on the episode "This place is mine". The methodology used was Hermeneutics, with the theoretical framework of the Adorno's Critical Theory, more specifically in his writings on the Cultural Industry. Cartoons and educatives programs are called in common sense as neutral, or even as of better quality. In this work, in its first part, there is a deconstruction of the cartoon's structures "Meu AmigãoZão" from your press release, provided by producers. In the second part is an analysis from the perspective of Cultural Industry. Thus, various aspects of this type of programming are highlighted and show that the educative attribute appears as the old undercover of new, while the cartoon brings so only fun for fun. This study is not positioned against this type of programming, but points out that, as well as all content provided by TV, a reflective reading is accurate. [ABSTRACT FROM AUTHOR]

Founded on the Critical Theory, this essay seeks meanings in the production of contemporary art, analyzing specific scenes of the film "The Great Beauty", from the director Paolo Sorrentino. Some issues are tacked throughout the text, based on concepts like Cultural Industry, with the pretension of interpreting works and presentations that introduce themselves in the spectacularized portrait of plastic and musical impoverishing performances, which are denounced by the filmic narrative. At the end, it is envisioned the possibility of a qualified aesthetic experience, based on the contemporary works that mobilize sensitive knowledge in the ethic hope of humanization, related with an art which is committed to itself and that is fulfilled with social meaning. [ABSTRACT FROM AUTHOR]

The wide human formation that includes the possibility of autonomy and enlightenment, a Enlightenment promise, became, in capitalist society, hampered by the logic of consumption. The emergence of the press, and its widespread form of communication, the information, eventually intensify the deformation of the subject and contributes also to the decline of the ability of individuals to carry out experiments. Thus, this paper discusses the relationship between the press, the loss of ability to perform experiments and its influence on human development. For this, we resort to the critical theorists of the Frankfurt School. In the latter topic is an analysis of coverage by Revista Veja in relation to the FIFA World Cup, held in Brazil in June and July 2014. The aim is to empirically understand the role of the press and its relation to the ideology and the consumption, these issues theoretically DISCUSSED OVER THE FIRST TWO TOPICS OF THE ARTICLE. [ABSTRACT FROM AUTHOR]

The subject of this research in process brings a counterpoint between the popular cultural manifestations of Movimento Armorial in relation to the concept of cultural industry settled by Theodor Adorno e Max Horkheimer. The initial study seeks to identify how the cultural identity of a group or region retains its popular and preiva identity when a different and wider dialogue is added. Movimento Armorial catches exactly this sense of interchange. Within the dialectic structure of this elaboration, the experience of the native culture expands and evolves, providing cultural identity as a formative and emancipative process. Under the presuppositions of the Critical Theory, based on the essays of Theodor W. Adorno, Max Horkheimer, and Walter Benjamin, we formulate the theoretical outline to demonstrate the formative potencial of these authentic popular manifestations in opposition to the typical stereotypes scattered by the cultural industry. [ABSTRACT FROM AUTHOR]

This paper proposes a reflection on the phenomena of mass culture and its implications for the construction of performative subjectivities that have implications also in the world of education. A question emerges: is it possible, from a popular cultural good, the development of a critique of the cultural market's interests and practices, i.e., can popular music break free from the constraints imposed by the very cultural industry and circumvent their merely market interests? This work aims at analyzing how the processes of critique of mass culture and the "demands" of Brazilian cultural industry operate through the work of the musical group O Teatro Mágico [The Magic Theatre], particularly in its core language, aesthetics, and theatrical performance. From the whole movement performed by the group, we notice an identity construction as a process of resistance that occurs through bodily and aesthetic languages , as well as a movement related to "the otherness". That is, their familiarity with the poetic word, their irreverence on stage, their clear identification with the theatrical and circus performances make them an interesting and educational training lab that is opposed to the imperatives of the identity univocity of Brazilian cultural industry. [ABSTRACT FROM AUTHOR]

Revisiting the uses of the cultural industry theory is absolutely necessary in order to understand its dialectical relation with the media and its products. We must know how Theodor W. Adorno has studied the radio medium in the 30's and what he had written about its categorical properties through empirical researches, when participating in The Princeton Radio Research Project (1938-1941). It is time to further the news media researches, following up his studies on radio and radio pop music. [ABSTRACT FROM AUTHOR]

This study is an offshoot of a Master's dissertation entitled Aesthetic education and photography in teacher training for the high school level: the relevance of Adorno and Freire's contributions, defended in 2011. The study is linked to the perception that aesthetics is a formative experience in the process of emancipation and autonomy of the subject and is based on the theoretical references of Freire and Adorno. The objectives of this work are: to understand the formative experience through photographs and narratives about important aspects of career choice and to understand the mass cultural industry's influence on the students' training. The procedure for data collection was desk analysis. For data analysis and interpretation we made use of Gadamer's hermeneutic focus. Photographs and autobiographical accounts are analyzed and interpreted as well as documents produced by students of the teacher training course. The results point to the possibility of school spaces that transform the subject in a knowledge producer [ABSTRACT FROM AUTHOR]

This article analyzes the criticism of Adorno and Horkheimer on the culture industry, and emphasizes especially the social elements that shape the aesthetic barbarity process. These elements are identified to permit the affirmation that the culture promoted by the culture industry is a masked and perverse one. Besides it promotes the humiliation of the instinct and the transformation of "serious art" into "light art", producing style and taste decay. From the texts, Dialectic of Enlightenment: Philosophical Fragments; Introduction to the Sociology of Music, and The Fetish-Character in Music and the Regression of Listening, we conclude that the "serious art" approach is an emancipatory way necessary for any educational process (Bildung) intending to overcome semi-formation (Halbbildung). To reflect on the relationship between art and education in the context of cultural industry and its forms of manipulation is essential to the achievement of an education (Bildung) capable of going beyond instrumental rationality and the bait of administered art. [ABSTRACT FROM AUTHOR]

The aim of the article is to investigate the way students express their aversion towards teachers through new technologies. It starts from the presumption that students currently manifest their aversion in a way unheard of before. If they would not show it during classes for fear of some type of retaliation, nowadays they spectacularly break the silence through the comments posted in online communities on Orkut or by sharing videos and images in broadcasting website You Tube. This disruption must be understood in a society in which the individuals become electronically publicities of themselves. This fact refers to the need for understanding the historical changes that happened between cultural industry and publicity. We conclude that the teacher-student relationship acquired new characteristics in their respective identities because of the way new technologies mediate the so called pedagogic connection of both in and outside schools. [ABSTRACT FROM AUTHOR]

With grounds on the Critical Theory, this work presents a reflection on the mediation of digital and electronic communication technologies, which change the ways culture, entertainment and sense production, circulation and apprehension are managed. Our focus is the process of digitalization of cultural industry products and the way technological convergence, equipment miniaturization and the social-technical environment tend to incorporate the systemic logic of industrial production and the hierarchization of qualities. The exposition tends to point out the relationship between technology-based mediation in the sphere of sensitivity and intelligence, having as its axis formative and cultural questions. [ABSTRACT FROM AUTHOR]

This article proposes a new perspective of historical analyses of MPB (Brazilian Popular Music), considering not only the political/cultural dimension of popular music, but also the economical/cultural dimension. In this other perspective, information must be collected about the relationship among popular music and culture industry, market and mass media. The article, in this proposal, makes a historical analysis of MPB in the crucial Sixties, especially the styles of bossa nova, protest songs and tropicalismo, as well as the MPB festivals. It concludes that MPB had a key function in the formation of the youth culture market, of course regarding the record industry. Not only was MPB in the Sixties crucial to the political/cultural mobilization of young middle class people in Brazil, but also started the institution of a youth consumer market for culture products made by the new record industry, together with equally new mass media, especially television. [ABSTRACT FROM AUTHOR]