TheCultureIndustry:EnlightenmentasMassDeception

TheodorAdornoandMaxHorkheimer1
Thesociologicaltheorythatthelossofthesupportofobjectivelyestablishedreligion,the
dissolutionofthelastremnantsofprecapitalism,togetherwithtechnologicalandsocial
differentiationorspecialization,haveledtoculturalchaosisdisprovedeveryday;for
culturenowimpressesthesamestamponeverything.Films,radioandmagazinesmake
upasystemwhichisuniformasawholeandineverypart.Eventheaestheticactivitiesof
political opposites are one in their enthusiastic obedience to the rhythm of the iron
system. The decorative industrial management buildings and exhibition centers in
authoritariancountriesaremuchthesameasanywhereelse.Thehugegleamingtowers
thatshootupeverywhereareoutwardsignsoftheingeniousplanningofinternational
concerns,towardwhichtheunleashedentrepreneurialsystem(whosemonumentsarea
massofgloomyhousesandbusinesspremisesingrimy,spiritlesscities)wasalready
hastening.Evennowtheolderhousesjustoutsidetheconcretecitycenterslooklike
slums,andthenewbungalowsontheoutskirtsareatonewiththeimsystructuresof
worldfairsintheirpraiseoftechnicalprogressandtheirbuiltindemandtobediscarded
after a short while like empty food cans. Yet the city housing projects designed to
perpetuatetheindividualasasupposedlyindependentunitinasmallhygienicdwelling
makehimallthemoresubservienttohisadversarytheabsolutepowerofcapitalism.
Becausetheinhabitants,asproducersandasconsumers,aredrawnintothecenterin
search of work and pleasure, all the living units crystallize into wellorganized
complexes.Thestrikingunityofmicrocosmandmacrocosmpresentsmenwithamodel
oftheirculture:thefalseidentityofthegeneralandtheparticular.Undermonopolyall
masscultureisidentical,andthelinesofitsarticialframeworkbegintoshowthrough.
Thepeopleatthetoparenolongersointerestedinconcealingmonopoly:asitsviolence
becomesmoreopen,soitspowergrows.Moviesandradioneednolongerpretendtobe
art.Thetruththattheyarejustbusinessismadeintoanideologyinordertojustifythe
rubbish they deliberately produce. They call themselves industries; and when their
directors incomes are published, any doubt about the social utility of the nished
productsisremoved.
Interestedpartiesexplainthecultureindustryintechnologicalterms.Itisallegedthat
because millions participate in it, certain reproduction processes are necessary that
inevitablyrequire identicalneeds in innumerableplaces tobe satisedwithidentical
goods.Thetechnicalcontrastbetweenthefewproductioncentersandthelargenumberof
widelydispersedconsumptionpointsissaidtodemandorganizationandplanningby
management.Furthermore,itisclaimedthatstandardswerebasedintherstplaceon
consumersneeds,andforthatreasonwereacceptedwithsolittleresistance.Theresultis
thecircleofmanipulationandretroactiveneedinwhichtheunityofthesystemgrows
everstronger.Nomentionismadeofthefactthatthebasisonwhichtechnologyacquires
poweroversocietyisthepowerofthosewhoseeconomicholdoversocietyisgreatest.A
technologicalrationaleistherationaleofdominationitself.Itisthecoercivenatureof

society alienated from itself. Automobiles, bombs, and movies keep 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 standardization and mass production, sacricing whatever involved a
distinctionbetweenthelogicoftheworkandthatofthesocialsystem.Thisistheresult
notofalawofmovementintechnologyassuchbutofitsfunctionintodayseconomy.
Theneedwhichmightresistcentralcontrolhasalreadybeensuppressedbythecontrolof
the individual consciousness. The step from the telephone to the radio has clearly
distinguishedtheroles.Theformerstillallowedthesubscribertoplaytheroleofsubject,
andwasliberal.Thelatteris
1

fromDialecticofEnlightenment,NewYork:Continuum,1993).(OriginallypublishedasDialektikder
Aufklarung,1944)

TheodorAdornoandMaxHorkneimer1 TheCultureIndustry democratic:itturnsall

participantsintolistenersandauthoritativelysubjectsthemtobroadcastprogramswhich
are all exactly the same. No machinery of rejoinder has been devised, and private
broadcasters are denied any freedom. They are conned to the apocryphal 2 eld of the
amateur,andalsohavetoacceptorganizationfromabove.Butanytraceofspontaneityfromthepublicinofcialbroadcastingis
controlledandabsorbedbytalentscouts,studiocompetitionsandofcialprogramsofeverykindselectedbyprofessionals.Talented
performersbelongtotheindustrylongbeforeitdisplaysthem;otherwisetheywouldnotbesoeagertotin.Theattitudeofthe
public,whichostensiblyandactuallyfavorsthesystemofthecultureindustry,isapartofthesystemandnotanexcuseforit.Ifone
branchofartfollowsthesameformulaasonewithaverydifferentmediumandcontent;ifthedramaticintrigueofbroadcastsoap
operasbecomesnomorethanusefulmaterialforshowinghowtomastertechnicalproblemsatbothendsofthescaleofmusical
experiencerealjazzoracheapimitation;orifamovementfromaBeethovensymphonyiscrudelyadaptedforalmsoundtrack
inthesamewayasaTolstoynovelisgarbledinalmscript:thentheclaimthatthisisdonetosatisfythespontaneouswishesofthe
publicisnomorethanhotair.Weareclosertothefactsifweexplainthesephenomenaasinherentinthetechnicalandpersonnel
apparatuswhich,downtoitslastcog,itselfformspartoftheeconomicmechanismofselection.Inadditionthereistheagreementor
atleastthedeterminationofallexecutiveauthoritiesnottoproduceorsanctionanythingthatinanywaydiffersfromtheirown
rules,theirownideasaboutconsumers,oraboveallthemselves.

Inouragetheobjectivesocialtendencyisincarnateinthehiddensubjectivepurposesof
company directors, the foremost among whom are in the most powerful sectors of
industrysteel,petroleum,electricity,andchemicals.Culturemonopoliesareweakand
dependentincomparison.Theycannotaffordtoneglecttheirappeasementofthereal
holdersofpoweriftheirsphereofactivityinmasssociety(asphereproducingaspecic
typeofcommoditywhichanyhowisstilltoocloselyboundupwitheasygoingliberalism
andJewishintellectuals)isnottoundergoaseriesofpurges.Thedependenceofthemost
powerful broadcasting company on the electrical industry, or of the motion picture
industryonthebanks,ischaracteristicofthewholesphere,whoseindividualbranches
arethemselveseconomicallyinterwoven.Allareinsuchclosecontactthattheextreme
concentration of mental forces allows demarcation lines between different rms and
technicalbranchestobeignored.Theruthlessunityinthecultureindustryisevidenceof
whatwillhappeninpolitics.MarkeddifferentiationssuchasthoseofAandBlms,orof
storiesinmagazinesindifferentpriceranges,dependnotsomuchonsubjectmatterason
classifying,organizing,andlabelingconsumers.Somethingisprovidedforallsothat

nonemayescape;thedistinctionsareemphasizedandextended.Thepubliciscateredfor
withahierarchicalrangeofmassproducedproductsofvaryingquality,thusadvancing
the rule of complete quantication. Everybody must behave (as if spontaneously) in
accordancewithhispreviouslydeterminedandindexedlevel,andchoosethecategoryof
mass product turned out for his type. Consumers appear as statistics on research
organizationcharts,andaredividedbyincomegroupsintored,green,andblueareas;the
techniqueisthatusedforanytypeofpropaganda.
How formalized the procedure is can be seen when the mechanically differentiated
productsprovetobeallalikeintheend.ThatthedifferencebetweentheChryslerrange
andGeneralMotorsproductsisbasicallyillusorystrikeseverychildwithakeeninterest
invarieties.Whatconnoisseursdiscussasgoodorbadpointsserveonlytoperpetuatethe
semblanceofcompetitionandrangeofchoice.ThesameappliestotheWarnerBrothers
and Metro Goldwyn Mayer productions. But even the differences between the more
expensive and cheaper models put out by the same rm steadily diminish: for
automobiles,therearesuchdifferencesasthenumberofcylinders,cubiccapacity,details
ofpatentedgadgets;andforlmstherearethenumberofstars,theextravagantuseof
technology, labor, and equipment, and the introduction of the latest psychological
formulas.Theuniversalcriterionofmeritistheamountof
2

Apocryphal:ofdoubtfulauthenticity:spurious

TheodorAdornoandMaxHorkneimer2TheCultureIndustryconspicuousproduction,
ofblatantcashinvestment.Thevaryingbudgetsinthecultureindustrydonotbearthe
slightestrelationtofactualvalues,tothemeaningoftheproductsthemselves.Eventhe
technicalmediaarerelentlesslyforcedintouniformity.Televisionaimsatasynthesisof
radioandlm,andishelduponlybecausetheinterestedpartieshavenotyetreached
agreement,butits consequenceswillbequiteenormousandpromisetointensifythe
impoverishmentofaestheticmattersodrastically,thatbytomorrowthethinlyveiled
identity of all industrial culture products can come triumphantly out into the open,
derisivelyfulllingtheWagneriandreamoftheGesamtkunstwerkthefusionofallthe
artsinonework.Theallianceofword,image,andmusicisallthemoreperfectthanin
Tristanbecausethesensuouselementswhichallapprovinglyreectthesurfaceofsocial
reality are in principle embodied in the same technical process, the unity of which
becomesitsdistinctivecontent.Thisprocessintegratesalltheelementsoftheproduction,
fromthenovel(shapedwithaneyetothelm)tothelastsoundeffect.Itisthetriumph
ofinvestedcapital,whosetitleasabsolutemasterisetcheddeepintotheheartsofthe
dispossessedintheemploymentline;itisthemeaningfulcontentofeverylm,whatever
plottheproductionteammayhaveselected.
Themanwithleisure hastoacceptwhattheculturemanufacturersofferhim.Kants
formalismstillexpectedacontributionfromtheindividual,whowasthoughttorelatethe
variedexperiencesofthesensestofundamentalconcepts;butindustryrobstheindividual
ofhisfunction.Itsprimeservicetothecustomeristodohisschematizingforhim.Kant
saidthattherewasasecretmechanisminthesoulwhichprepareddirectintuitionsin
suchawaythattheycouldbettedintothesystemofpurereason.Buttodaythatsecret

hasbeendeciphered.Whilethemechanismistoallappearancesplannedbythosewho
serveupthedataofexperience,thatis,bythecultureindustry,itisinfactforcedupon
the latterbythe powerofsociety, which remains irrational, however wemaytry to
rationalizeit;andthisinescapableforceisprocessedbycommercialagenciessothatthey
giveanarticialimpressionofbeingincommand.Thereisnothingleftfortheconsumer
toclassify.Producershavedoneitforhim.Artforthemasseshasdestroyedthedream
butstillconformstothetenetsofthatdreamingidealismwhichcriticalidealismbalked
at. Everything derives from consciousness: for Malebranche and Berkeley, from the
consciousnessofGod;inmassart,fromtheconsciousnessoftheproductionteam.Not
onlyarethehitsongs,stars,andsoapoperascyclicallyrecurrentandrigidlyinvariable
types,butthespeciccontentoftheentertainmentitselfisderivedfromthemandonly
appearstochange.Thedetailsareinterchangeable.Theshortintervalsequencewhich
waseffectiveinahitsong,theherosmomentaryfallfromgrace(whichheacceptsas
goodsport),theroughtreatmentwhichthebelovedgetsfromthemalestar,thelatters
ruggeddeanceofthespoiltheiress,are,likealltheotherdetails,readymadeclichesto
beslottedinanywhere;theyneverdoanythingmorethanfulllthepurposeallottedthem
intheoverallplan.Theirwholeraisond
etre is
toconrmitbybeingitsconstituentparts.Assoonasthelmbegins,itisquiteclear
howitwillend,andwhowillberewarded,punished,orforgotten.Inlightmusic,once
thetrainedearhasheardtherstnotesofthehitsong,itcanguesswhatiscomingand
feelatteredwhenitdoescome.Theaveragelengthoftheshortstoryhastoberigidly
adheredto.Evengags,effects,andjokesarecalculatedlikethesettinginwhichtheyare
placed.Theyaretheresponsibilityofspecialexpertsandtheirnarrowrangemakesit
easyforthemtobeapportionedintheofce.Thedevelopmentofthecultureindustryhas
ledtothepredominanceoftheeffect,theobvioustouch,andthetechnicaldetailoverthe
workitselfwhichonceexpressedanidea,butwasliquidatedtogetherwiththeidea.
When the detail won its freedom, it became rebellious and, in the period from
RomanticismtoExpressionism,asserteditselfasfreeexpression,asavehicleofprotest
againsttheorganization.Inmusicthesingleharmoniceffectobliteratedtheawarenessof
formasawhole;inpaintingtheindividualcolorwasstressedattheexpenseofpictorial
composition;andinthenovelpsychologybecamemoreimportantthanstructure.The
totalityofthecultureindustryhasputanendtothis.Thoughconcernedexclusivelywith
effects,itcrushestheirinsubordinationandmakesTheodorAdornoandMaxHorkneimer
3 TheCultureIndustry themsubservetheformula,whichreplacesthework.Thesame
fateisinictedonwholeandpartsalike.Thewholeinevitablybearsnorelationtothe
detailsjustlikethecareerofasuccessfulmanintowhicheverythingismadetotasan
illustrationoraproof,whereasitisnothingmorethanthesumofallthoseidioticevents.
Thesocalleddominantideaislikealewhichensuresorderbutnotcoherence.The
wholeandthepartsarealike;thereisnoantithesisandnoconnection.Theirprearranged
harmonyisamockeryofwhathadtobestrivenafterinthegreatbourgeoisworksofart.
InGermanythegraveyardstillnessofthedictatorshipalreadyhungoverthegayestlms
ofthedemocraticera.Thewholeworldismadetopassthroughthelteroftheculture

industry. The old experience of the moviegoer, who sees the world outside as an
extensionofthelmhehasjustleft(becausethelatterisintentuponreproducingthe
worldofeverydayperceptions),isnowtheproducersguideline.Themoreintenselyand
awlesslyhistechniquesduplicateempiricalobjects,theeasieritistodayfortheillusion
toprevailthattheoutsideworldisthestraightforwardcontinuationofthatpresentedon
the screen. This purpose has been furthered by mechanical reproduction since the
lightningtakeoverbythesoundlm.
Reallifeisbecomingindistinguishablefromthemovies.Thesoundlm,farsurpassing
thetheaterofillusion,leavesnoroomforimaginationorreectiononthepartofthe
audience,whoisunabletorespondwithinthestructureofthelm,yetdeviatefromits
precisedetailwithoutlosingthethreadofthestory;hencethelmforcesitsvictimsto
equateitdirectlywithreality.Thestuntingofthemassmediaconsumerspowersof
imagination and spontaneity does not have to be traced back to any psychological
mechanisms;hemustascribethelossofthoseattributestotheobjectivenatureofthe
productsthemselves,especiallytothemostcharacteristicofthem,thesoundlm.They
aresodesignedthatquickness,powersofobservation,andexperienceareundeniably
needed to apprehend them at all; yet sustained thought is out of the question if the
spectatorisnottomisstherelentlessrushoffacts.Eventhoughtheeffortrequiredforhis
response is semiautomatic, no scope is left for the imagination. Those who are so
absorbedbytheworldofthemoviebyitsimages,gestures,andwordsthattheyare
unabletosupplywhatreallymakesitaworld,donothavetodwellonparticularpointsof
itsmechanicsduringascreening.Alltheotherlmsandproductsoftheentertainment
industrywhichtheyhaveseenhavetaughtthemwhattoexpect;theyreactautomatically.
The might of industrial society is lodged in mens minds. The entertainment
manufacturersknowthattheirproductswillbeconsumedwithalertnessevenwhenthe
customerisdistraught,foreachofthemisamodelofthehugeeconomicmachinery
whichhasalwayssustainedthemasses,whetheratworkoratleisurewhichisakinto
work. From every sound lm and every broadcast program the social effect can be
inferredwhichisexclusivetononebutissharedbyallalike.Thecultureindustryasa
wholehasmoldedmenasatypeunfailinglyreproducedineveryproduct.Alltheagents
ofthisprocess,fromtheproducertothewomensclubs,takegoodcarethatthesimple
reproductionofthismentalstateisnotnuancedorextendedinanyway.
ThearthistoriansandguardiansofculturewhocomplainoftheextinctionintheWestof
abasicstyledeterminingpowerarewrong.Thestereotypedappropriationofeverything,
eventheinchoate3,forthepurposesofmechanicalreproductionsurpassestherigorand
generalcurrencyofanyrealstyle,inthesenseinwhichculturalcognoscenti4celebrate
theorganicprecapitalistpast.NoPalestrinacouldbemoreofapuristineliminatingevery
unprepared and unresolved discord than the jazz arranger in suppressing any
developmentwhichdoesnotconformtothejargon.WhenjazzingupMozarthechanges
himnotonlywhenheistooseriousortoodifcultbutwhenheharmonizesthemelody
inadifferentway,perhapsmoresimply,thaniscustomarynow.Nomedievalbuildercan
havescrutinizedthesubjectsforchurchwindowsandsculpturesmoresuspiciouslythan
thestudiohierarchyscrutinizesaworkbyBalzacorHugobeforenallyapprovingit.No

medievaltheologiancouldhavedeterminedthedegreeofthetorment
3

Inchoate: being only partly in existence or operation; imperfectly formed or formulated

Cognoscenti: People especially knowledgeable in a subject: connoisseurs.

TheodorAdornoandMaxHorkneimer4 TheCultureIndustry tobesufferedbythe

damnedinaccordancewiththeordoofdivinelovemoremeticulouslythantheproducers
ofshoddyepicscalculatethetorturetobeundergonebytheheroortheexactpointto
whichtheleadingladyshemlineshallberaised.Theexplicitandimplicit,exoteric 5 and
6
esoteric catalogoftheforbiddenandtoleratedissoextensivethatitnotonlydenestheareaoffreedombutisallpowerfulinsideit.
Everythingdowntothelastdetailisshapedaccordingly.Likeitscounterpart,avantgardeart,theentertainmentindustrydetermines
7
itsownlanguage,downtoitsverysyntaxandvocabulary,bytheuseofanathema .Theconstantpressuretoproduceneweffects
(whichmustconformtotheoldpattern)servesmerelyasanotherruletoincreasethepoweroftheconventionswhenanysingleeffect
threatenstoslipthroughthenet.Everydetailissormlystampedwithsamenessthatnothingcanappearwhichisnotmarkedatbirth,
ordoesnotmeetwithapprovalatrstsight.Andthestarperformers,whethertheyproduceorreproduce,usethisjargonasfreelyand
uentlyandwithasmuchgustoasifitweretheverylanguagewhichitsilencedlongago.Suchistheidealofwhatisnaturalinthis
eldofactivity,anditsinuencebecomesallthemorepowerful,themoretechniqueisperfectedanddiminishesthetensionbetween
the nishedproductandeveryday life.The paradoxof this routine, which isessentially travesty,can be detected and is often
predominantineverythingthatthecultureindustryturnsout.Ajazzmusicianwhoisplayingapieceofseriousmusic,oneof
Beethovenssimplestminuets,syncopatesitinvoluntarilyandwillsmilesuperciliouslywhenaskedtofollowthenormaldivisionsof
thebeat.Thisisthenaturewhich,complicatedbytheeverpresentandextravagantdemandsofthespecicmedium,constitutesthe
newstyleandisasystemofnonculture,towhichonemightevenconcedeacertainunityofstyleifitreallymadeanysenseto
8
speakofstylizedbarbarity.

The universal imposition of this stylized mode can even go beyond what is quasi
ofcially sanctioned or forbidden; today a hit song is more readily forgiven for not
observingthe32beatsorthecompassoftheninththanforcontainingeventhemost
clandestinemelodicorharmonicdetailwhichdoesnotconformtotheidiom.Whenever
OrsonWellesoffendsagainstthetricksofthetrade,heisforgivenbecausehisdepartures
fromthenormareregardedascalculatedmutationswhichserveallthemorestronglyto
conrmthevalidityofthesystem.Theconstraintofthetechnicallyconditionedidiom
whichstarsanddirectorshavetoproduceasnaturesothatthepeoplecanappropriate
it,extendstosuchnenuancesthattheyalmostattainthesubtletyofthedevicesofan
avantgarde work as against those of truth. The rare capacity minutely to fulll the
obligations of the natural idiom in all branches of the culture industry becomes the
criterion of efciency. What and how they say it must be measurable by everyday
language,asinlogicalpositivism.Theproducersareexperts.Theidiomdemandsan
astoundingproductivepower,whichitabsorbsandsquanders.Inadiabolicalwayithas
overreachedtheculturallyconservativedistinctionbetweengenuineandarticialstyle.A
stylemightbecalledarticialwhichisimposedfromwithoutontherefractoryimpulses
ofaform.Butinthecultureindustryeveryelementofthesubjectmatterhasitsoriginin
thesameapparatusasthatjargonwhosestampitbears.Thequarrelsinwhichtheartistic
expertsbecomeinvolvedwithsponsorandcensoraboutaliegoingbeyondtheboundsof
credibilityareevidencenotsomuchofaninneraesthetictensionasofadivergenceof
interests. The reputation of the specialist, in which a last remnant of objective

independencesometimesndsrefuge,conictswiththebusinesspoliticsoftheChurch,
ortheconcernwhichismanufacturingtheculturalcommodity.Butthethingitselfhas
beenessentiallyobjectiedandmadeviablebeforetheestablishedauthoritiesbeganto
argueaboutit.EvenbeforeZanuckacquiredher,SaintBernadettewasregardedbyher
latterdayhagiographer9 asbrilliantpropagandaforallinterestedparties.Thatiswhat
becameoftheemotionsofthecharacter.Hence
5

Exoteric:belongingtotheouterorlessinitiatecircle
Esoteric:designedfororunderstoodbythespeciallyinitiatedalone.
7
Anathema:someoneorsomethingintenselydislikedorloathed
8
Nietzsche,UnzeirgemsseBetrachtungen,Werke,Vol.I(Leipzig,1917),p.187.
9
Hagiographer:awriterofanidealizingoridolizingbiography.TheodorAdornoandMax
6

Horkneimer5TheCultureIndustry
thestyleofthecultureindustry,whichnolongerhastotestitselfagainstanyrefractory
material,isalsothenegationofstyle.Thereconciliationofthegeneralandparticular,of
theruleandthespecicdemandsofthesubjectmatter,theachievementofwhichalone
givesessential,meaningfulcontenttostyle,isfutilebecausetherehasceasedtobethe
slightest tension between opposite poles: these concordant extremes are dismally
identical;thegeneralcanreplacetheparticular,andviceversa.
Nevertheless,thiscaricatureofstyledoesnotamounttosomethingbeyondthegenuine
styleofthepast.Inthecultureindustrythenotionofgenuinestyleisseentobethe
aesthetic equivalent ofdomination.Style considered as mereaestheticregularity is a
romanticdreamofthepast.TheunityofstylenotonlyoftheChristianMiddleAgesbut
oftheRenaissanceexpressesineachcasethedifferentstructureofsocialpower,andnot
theobscureexperienceoftheoppressedinwhichthegeneralwasenclosed.Thegreat
artistswereneverthosewhoembodiedawhollyawlessandperfectstyle,butthosewho
usedstyleasawayofhardeningthemselvesagainstthechaoticexpressionofsuffering,
asanegativetruth.Thestyleoftheirworksgavewhatwasexpressedthatforcewithout
whichlifeowsawayunheard.Thoseveryartformswhichareknownasclassical,such
asMozartsmusic,containobjectivetrendswhichrepresentsomethingdifferenttothe
style whichthey incarnate.As late as SchonbergandPicasso,the great artists have
retainedamistrustofstyle,andatcrucialpointshavesubordinatedittothelogicofthe
matter.WhatDadaistsandExpressionistscalledtheuntruthofstyleassuchtriumphs
todayinthesungjargonofacrooner,inthecarefullycontrivedeleganceofalmstar,
andevenintheadmirableexpertiseofaphotographofapeasantssqualidhut.Style
representsapromiseineveryworkofart.Thatwhichisexpressedissubsumedthrough
style into the dominant forms ofgenerality, into the language of music, painting, or
words,inthehopethatitwillbereconciledthuswiththeideaoftruegenerality.This
promiseheldoutbytheworkofartthatitwillcreatetruthbylendingnewshapetothe
conventionalsocialformsisasnecessaryasitishypocritical.Itunconditionallypositsthe
realformsoflifeasitisbysuggestingthatfulllmentliesintheiraestheticderivatives.
Tothisextenttheclaimofartisalwaysideologytoo.However,onlyinthisconfrontation
withtraditionofwhichstyleistherecordcanartexpresssuffering.Thatfactorinawork
ofartwhichenablesittotranscendrealitycertainlycannotbedetachedfromstyle;butit

doesnotconsistoftheharmonyactuallyrealized,ofanydoubtfulunityofformand
content,withinandwithout,ofindividualandsociety;itistobefoundinthosefeatures
in which discrepancy appears: in the necessary failure of the passionate striving for
identity.Insteadofexposingitselftothisfailureinwhichthestyleofthegreatworkof
arthasalwaysachievedselfnegation,theinferiorworkhasalwaysreliedonitssimilarity
withothersonasurrogateidentity.
In the culture industry this imitation nally becomes absolute. Having ceased to be
anythingbutstyle,itrevealsthelatterssecret:obediencetothesocialhierarchy.Today
aestheticbarbaritycompleteswhathasthreatenedthecreationsofthespiritsincethey
were gathered together as culture and neutralized. To speak of culture was always
contrarytoculture.Cultureasacommondenominatoralreadycontainsinembryothat
schematizationandprocessofcatalogingandclassicationwhichbringculturewithinthe
sphere of administration. And it is precisely the industrialized, the consequent,
subsumption10whichentirelyaccordswiththisnotionofculture.Bysubordinatinginthe
samewayandtothesameendallareasofintellectualcreation,byoccupyingmens
sensesfromthetimetheyleavethefactoryintheeveningtothetimetheyclockinagain
thenextmorningwithmatterthatbearstheimpressofthelaborprocesstheythemselves
havetosustainthroughouttheday,thissubsumptionmockinglysatisestheconceptofa
uniedculturewhichthephilosophersofpersonalitycontrastedwithmassculture.

10

Subsumption: the act or process of including or placing within something larger or more
comprehensive.

Theodor Adorno and Max Horkneimer 6 The Culture Industry And so the culture
industry, themostrigidofallstyles,provestobethegoalofliberalism,whichisre
proached for its lack of style. Not only do its categories and contents derive from
liberalismdomesticated naturalism as well as operetta and revuebut the modern
culturemonopoliesformtheeconomicareainwhich,togetherwiththecorresponding
entrepreneurialtypes,forthetimebeingsomepartofitssphereofoperationsurvives,
despitetheprocessofdisintegrationelsewhere.Itisstillpossibletomakeoneswayin
entertainment, if one is not too obstinate about ones own concerns, and proves
appropriately pliable. Anyone who resists can only survive by tting in. Once his
particularbrandofdeviationfromthenormhasbeennotedbytheindustry,hebelongsto
itasdoesthelandreformertocapitalism.Realisticdissidence11isthetrademarkofanyonewhohasa
newideainbusiness.Inthepublicvoiceofmodernsocietyaccusationsareseldomaudible;iftheyare,theperceptivecanalready
detectsignsthatthedissidentwillsoonbereconciled.Themoreimmeasurablethegapbetweenchorusandleaders,themorecertainly
thereisroomatthetopforeverybodywhodemonstrateshissuperioritybywellplannedoriginality.Hence,inthecultureindustry,
too,theliberaltendencytogivefullscopetoitsablemensurvives.Todothisfortheefcienttodayisstillthefunctionofthemarket,
whichisotherwiseprocientlycontrolled;asforthemarketsfreedom,inthehighperiodofartaselsewhere,itwasfreedomforthe
stupid to starve. Signicantly, the system of the culture industry comes from the more liberal industrial nations, and all its
characteristicmedia,suchasmovies,radio,jazz,andmagazines,ourishthere.Itsprogress,tobesure,haditsorigininthegeneral

lawsofcapital.GaumontandPathe,UllsteinandHugenbergfollowedtheinternationaltrendwithsomesuccess;Europeseconomic
dependenceontheUnitedStatesafterwarandinationwasacontributoryfactor.Thebeliefthatthebarbarityofthecultureindustry
isaresultofculturallag,ofthefactthattheAmericanconsciousnessdidnotkeepupwith

thegrowthoftechnology,isquitewrong.ItwaspreFascistEuropewhichdidnotkeep
up with the trend toward the culture monopoly. But it was this very lag which left
intellectandcreativitysomedegreeofindependenceandenableditslastrepresentatives
toexisthoweverdismally.InGermanythefailureofdemocraticcontroltopermeate
life had led to a paradoxical situation. Many things were exempt from the market
mechanismwhichhadinvadedtheWesterncountries.TheGermaneducationalsystem,
universities, theaters with artistic standards, great orchestras, and museums enjoyed
protection. The political powers, state and municipalities, which had inherited such
institutionsfromabsolutism,hadleftthemwithameasureofthefreedomfromtheforces
ofpowerwhichdominatesthemarket,justasprincesandfeudallordshaddoneuptothe
nineteenthcentury.Thisstrengthenedartinthislatephaseagainsttheverdictofsupply
anddemand,andincreaseditsresistancefarbeyondtheactualdegreeofprotection.Inthe
marketitselfthetributeofaqualityforwhichnousehadbeenfoundwasturnedinto
purchasing power; in this way, respectable literary and music publishers could help
authorswhoyieldedlittlemoreinthewayofprotthantherespectoftheconnoisseur.
Butwhatcompletelyfetteredtheartistwasthepressure(andtheaccompanyingdrastic
threats),alwaystotintobusinesslifeasanaestheticexpert.Formerly,likeKantand
Hume, they signed their letters Your most humble and obedient servant, and
underminedthefoundationsofthroneandaltar.Todaytheyaddressheadsofgovernment
bytheirrstnames,yetineveryartisticactivitytheyaresubjecttotheirilliteratemasters.
The analysis Tocqueville offered a century ago has in the meantime proved wholly
accurate.Undertheprivateculturemonopolyitisafactthattyrannyleavesthebody
freeanddirectsitsattackatthesoul.Therulernolongersays:YoumustthinkasIdoor
die.Hesays:YouarefreenottothinkasIdo;yourlife,yourproperty,everythingshall
remainyours,butfromthisdayonyouareastrangeramongus.12 Nottoconformmeanstobe
renderedpowerless,economicallyandthereforespirituallytobeselfemployed.Whentheoutsiderisexcludedfromtheconcern,
hecanonlytooeasilybeaccusedofincompetence.Whereastodayinmaterialproductionthemechanismofsupplyanddemandis
disintegrating,inthesuperstructureitstilloperatesasacheckintherulersfavor.Theconsumersare
11

Dissidence:dissent
AlexisdeTocqueville,DelaDemocracieenAmerique,Vol.II(Paris,1864),p.151.Theodor

12

AdornoandMaxHorkneimer7TheCultureIndustry
theworkersandemployees,thefarmersandlowermiddleclass.Capitalistproductionso
connesthem,bodyandsoul,thattheyfallhelplessvictimstowhatisofferedthem.As
naturallyastheruledalwaystookthemoralityimposeduponthemmoreseriouslythan
did the rulers themselves, the deceived masses are today captivated by the myth of
successevenmorethanthesuccessfulare.Immovably,theyinsistontheveryideology
whichenslavesthem.Themisplacedloveofthecommonpeopleforthewrongwhichis
donethemisagreaterforcethanthecunningoftheauthorities.Itisstrongereventhan
therigorismoftheHaysOfce,justasincertaingreattimesinhistoryithasinamed
greaterforcesthatwereturnedagainstit,namely,theterrorofthetribunals.Itcallsfor

MickeyRooneyinpreferencetothetragicGarbo,forDonaldDuckinsteadofBetty
Boop.Theindustrysubmitstothevotewhichithasitselfinspired.Whatisalossforthe
rmwhichcannotfullyexploitacontractwithadecliningstarisalegitimateexpensefor
thesystemasawhole.Bycraftilysanctioningthedemandforrubbishitinauguratestotal
harmony.Theconnoisseurandtheexpertaredespisedfortheirpretentiousclaimtoknow
betterthantheothers,eventhoughcultureisdemocraticanddistributesitsprivilegesto
all.Inviewoftheideologicaltruce,theconformismofthebuyersandtheeffronteryof
theproducerswhosupplythemprevail.Theresultisaconstantreproductionofthesame
thing.
Aconstantsamenessgovernstherelationshiptothepastaswell.Whatisnewaboutthe
phaseofmassculturecomparedwiththelateliberalstageistheexclusionofthenew.
Themachinerotatesonthesamespot.Whiledeterminingconsumptionitexcludesthe
untriedasarisk.Themoviemakersdistrustanymanuscriptwhichisnotreassuringly
backed by a bestseller. Yet for this very reason there is neverending talk of ideas,
novelty,andsurprise,ofwhatistakenforgrantedbuthasneverexisted.Tempoand
dynamicsservethistrend.Nothingremainsasofold;everythinghastorunincessantly,
tokeepmoving.Foronlytheuniversaltriumphoftherhythmofmechanicalproduction
andreproductionpromisesthatnothingchanges,andnothingunsuitablewillappear.Any
additionstothewellprovencultureinventoryaretoomuchofaspeculation.Theossied
formssuchasthesketch,shortstory,problemlm,orhitsongarethestandardized
averageoflateliberaltaste,dictatedwiththreatsfromabove.Thepeopleatthetopinthe
cultureagencies,whoworkinharmonyasonlyonemanagercanwithanother,whether
hecomesfromtheragtradeorfromcollege,havelongsincereorganizedandrationalized
theobjectivespirit.Onemightthinkthatanomnipresentauthorityhadsiftedthematerial
anddrawnupanofcialcatalogofculturalcommoditiestoprovideasmoothsupplyof
availablemassproducedlines.Theideasarewrittenintheculturalrmamentwherethey
hadalreadybeennumberedbyPlatoandwereindeednumbers,incapableofincrease
andimmutable.
Amusementandalltheelementsofthecultureindustryexistedlongbeforethelatter
cameintoexistence.Nowtheyaretakenoverfromaboveandbroughtuptodate.The
cultureindustrycanprideitselfonhavingenergeticallyexecutedthepreviouslyclumsy
transposition of art into the sphere of consumption, on making this a principle, on
divestingamusementofitsobtrusivenaivetesandimprovingthetypeofcommodities.
Themoreabsoluteitbecame,themoreruthlessitwasinforcingeveryoutsidereitherinto
bankruptcyorintoasyndicate,andbecamemorerenedandelevateduntilitendedup
asasynthesisofBeethovenandtheCasinodeParis.Itenjoysadoublevictory:thetruth
it extinguishes without it can reproduce at will as a lie within. Light art as such,
distraction,isnotadecadentform.Anyonewhocomplainsthatitisabetrayaloftheideal
ofpureexpressionisunderanillusionaboutsociety.Thepurityofbourgeoisart,which
hypostatized13 itselfasaworldoffreedomincontrasttowhatwas happeninginthe
materialworld,wasfromthebeginningboughtwiththeexclusionofthelowerclasses
withwhosecause,therealuniversality,artkeepsfaithpreciselybyitsfreedomfromthe
endsofthefalseuniversality.Seriousarthasbeenwithheldfromthoseforwhomthe

hardshipandoppressionoflifemakeamockeryofseriousness,andwhomustbegladif
theycanusetimenotspentattheproductionlinejusttokeep
13

Hypostatized:attributedarealidentityto(aconcept)

TheodorAdornoandMaxHorkneimer8TheCultureIndustrygoing.Lightarthasbeen
theshadowofautonomousart.Itisthesocialbadconscienceofseriousart.Thetruth
whichthelatternecessarilylackedbecauseofits socialpremises gives theotherthe
semblance of legitimacy. The division itself is the truth: it does at least express the
negativity of the culture which the different spheres constitute. Least of all can the
antithesisbereconciledbyabsorbinglightintoseriousart,orviceversa.Butthatiswhat
thecultureindustryattempts.Theeccentricityofthecircus,peepshow,andbrothelisas
embarrassingtoitasthatofSchonbergandKarlKraus.AndsothejazzmusicianBenny
GoodmanappearswiththeBudapeststringquartet,morepedanticrhythmicallythanany
philharmonicclarinettist,whilethestyleoftheBudapestplayersisasuniformandsugary
asthatofGuyLombardo.Butwhatissignicantisnotvulgarity,stupidity,andlackof
polish.Thecultureindustrydidawaywithyesterdaysrubbishbyitsownperfection,and
by forbidding and domesticating the amateurish, although it constantly allows gross
blunderswithoutwhichthestandardoftheexaltedstylecannotbeperceived.Butwhatis
newisthattheirreconcilableelementsofculture,artanddistraction,aresubordinatedto
oneendandsubsumedunderonefalseformula:thetotalityofthecultureindustry.It
consistsofrepetition.Thatitscharacteristicinnovationsareneveranythingmorethan
improvementsofmassreproductionisnotexternaltothesystem.Itiswithgoodreason
thattheinterestofinnumerableconsumersisdirectedtothetechnique,andnottothe
contentswhich are stubbornly repeated, outworn, and by now halfdiscredited. The
social power which the spectators worship shows itself more effectively in the
omnipresenceofthestereotypeimposedbytechnicalskillthaninthestaleideologiesfor
whichtheephemeralcontentsstandin.
Neverthelessthecultureindustryremainstheentertainmentbusiness.Itsinuenceover
theconsumersisestablishedbyentertainment;thatwillultimatelybebrokennotbyan
outrightdecree,butbythehostilityinherentintheprincipleofentertainmenttowhatis
greaterthanitself.Sinceallthetrendsofthecultureindustryareprofoundlyembeddedin
thepublicbythewholesocialprocess,theyareencouragedbythesurvivalofthemarket
inthisarea.Demandhasnotyetbeenreplacedbysimpleobedience.Asiswellknown,
themajorreorganizationofthelmindustryshortlybeforeWorldWarI,thematerial
prerequisiteofitsexpansion,waspreciselyitsdeliberateacceptanceofthepublicsneeds
asrecordedattheboxofceaprocedurewhichwashardlythoughtnecessaryinthe
pioneeringdaysofthescreen.Thesameopinionisheldtodaybythecaptainsofthelm
industry,whotakeastheircriterionthemoreorlessphenomenalsonghitsbutwisely
neverhaverecoursetothejudgmentoftruth,theoppositecriterion.Businessistheir
ideology. It is quite correct that the power of the culture industry resides in its
identicationwithamanufacturedneed,andnotinsimplecontrasttoit,evenifthis
contrastwereoneofcompletepowerandcompletepowerlessness.Amusementunderlate
capitalism is the prolongation of work. It is sought after as an escape from the
mechanizedworkprocess,andtorecruitstrengthinordertobeabletocopewithitagain.

Butatthesametimemechanizationhassuchpoweroveramansleisureandhappiness,
andsoprofoundlydeterminesthemanufactureofamusementgoods,thathisexperiences
areinevitablyafterimagesoftheworkprocessitself.Theostensiblecontentismerelya
fadedforeground;whatsinksinistheautomaticsuccessionofstandardizedoperations.
Whathappens atwork,inthefactory,orintheofcecanonlybeescapedfromby
approximation to it in ones leisure time. All amusement suffers from this incurable
malady.Pleasurehardensintoboredombecause,ifitistoremainpleasure,itmustnot
demandanyeffortandthereforemovesrigorouslyintheworngroovesofassociation.No
independentthinkingmustbeexpectedfromtheaudience:theproductprescribesevery
reaction:notbyitsnaturalstructure(whichcollapsesunderreection),butbysignals.
Any logical connection calling for mental effort is painstakingly avoided. As far as
possible,developmentsmustfollowfromtheimmediatelyprecedingsituationandnever
fromtheideaofthewhole.Fortheattentivemoviegoeranyindividualscenewillgive
himthewholething.Eventhesetpatternitselfstillseemsdangerous,offeringsome
meaningwretchedasitmightbewhereonlymeaninglessnessisacceptable.Oftenthe
plot is maliciously deprived of the development demanded by characters and matter
accordingtotheoldpattern.Instead,thenextstepis
TheodorAdornoandMaxHorkneimer9 TheCultureIndustry whatthescriptwriter
takestobethemoststrikingeffectintheparticularsituation.Banalthoughelaborate
surprise interrupts the storyline. The tendency mischievously to fall back on pure
nonsense,whichwasalegitimatepartofpopularart,farceandclowning,rightupto
ChaplinandtheMarxBrothers,ismostobviousintheunpretentiouskinds.Thistendency
hascompletelyasserteditselfinthetextofthenoveltysong,inthethrillermovie,andin
cartoons,althoughinlmsstarringGreerGarsonandBetteDavistheunityofthesocio
psychologicalcasestudyprovidessomethingapproximatingaclaimtoaconsistentplot.
The idea itself, together with the objects of comedy and terror, is massacred and
fragmented.Noveltysongshavealwaysexistedonacontemptformeaningwhich,as
predecessorsandsuccessorsofpsychoanalysis,theyreducetothemonotonyofsexual
symbolism. Today detective and adventure lms no longer give the audience the
opportunitytoexperiencetheresolution.Inthenonironicvarietiesofthegenre,ithas
alsotorestcontentwiththesimplehorrorofsituationswhichhavealmostceasedtobe
linkedinanyway.
Cartoonswereonceexponentsoffantasyasopposedtorationalism.Theyensuredthat
justice was done to the creatures and objects they electried, by giving the maimed
specimensasecondlife.Alltheydotodayistoconrmthevictoryoftechnological
reasonovertruth.Afewyearsagotheyhadaconsistentplotwhichonlybrokeupinthe
nal moments inacrazy chase,and thus resembled theold slapstickcomedy.Now,
however,timerelationshaveshifted.Intheveryrstsequenceamotiveisstatedsothat
inthecourseoftheactiondestructioncangettoworkonit:withtheaudienceinpursuit,
the protagonist becomes the worthless object of general violence. The quantity of
organized amusement changes into the quality of organized cruelty. The selfelected
censorsofthelmindustry(withwhomitenjoysacloserelationship)watchoverthe
unfoldingofthecrime,whichisasdrawnoutasahunt.Funreplacesthepleasurewhich

thesightofanembracewouldallegedlyafford,andpostponessatisfactiontillthedayof
thepogrom.Insofarascartoonsdoanymorethanaccustomthesensestothenewtempo,
theyhammerintoeverybraintheoldlessonthatcontinuousfriction,thebreakingdown
ofallindividualresistance,istheconditionoflifeinthissociety.DonaldDuckinthe
cartoonsandtheunfortunateinreallifegettheirthrashingsothattheaudiencecanlearn
totaketheirownpunishment.
Theenjoymentoftheviolencesufferedbythemoviecharacterturnsintoviolenceagainst
thespectator,anddistractionintoexertion.Nothingthattheexpertshavedevisedasa
stimulant must escape the weary eye; no stupidity is allowed in the face of all the
trickery;onehastofolloweverythingandevendisplaythesmartresponsesshownand
recommendedinthelm.Thisraisesthequestionwhetherthecultureindustryfulllsthe
functionofdivertingmindswhichitboastsaboutsoloudly.Ifmostoftheradiostations
andmovietheaterswerecloseddown,theconsumerswouldprobablynotlosesovery
much.Towalkfromthestreetintothemovietheaterisnolongertoenteraworldof
dream;assoonastheveryexistenceoftheseinstitutionsnolongermadeitobligatoryto
usethem,therewouldbenogreaturgetodoso.Suchclosureswouldnotbereactionary
machinewrecking.Thedisappointmentwouldbefeltnotsomuchbytheenthusiastsas
bytheslowwitted,whoaretheoneswhosufferforeverythinganyhow.Inspiteofthe
lmswhichareintendedtocompleteherintegration,thehousewifendsinthedarkness
ofthemovietheateraplaceofrefugewhereshecansitforafewhourswithnobody
watching,justassheusedtolookoutofthewindowwhentherewerestillhomesandrest
intheevening.Theunemployedinthegreatcitiesndcoolnessinsummerandwarmth
in winter in these temperaturecontrolled locations. Otherwise, despite its size, this
bloatedpleasureapparatusaddsnodignitytomanslives.Theideaoffullyexploiting
availabletechnicalresourcesandthefacilitiesforaestheticmassconsumptionispartof
theeconomicsystemwhichrefusestoexploitresourcestoabolishhunger.
Thecultureindustryperpetuallycheatsitsconsumersofwhatitperpetuallypromises.
Thepromissorynote14which,withitsplotsandstaging,itdrawsonpleasureisendlessly
prolonged;thepromise,which
14

PromissoryNote:awrittenpromisetopayataxedfuturetimeasumofmoneytoanindividual

Theodor Adorno and Max Horkneimer 10 The Culture Industry is actually all the
spectacleconsistsof,isillusory:allitactuallyconrmsisthattherealpointwillneverbe
reached,thatthedinermustbesatisedwiththemenu.Infrontoftheappetitestimulated
byallthosebrilliantnamesandimagesthereisnallysetnomorethanacommendation
ofthedepressingeverydayworlditsoughttoescape.Ofcourseworksofartwerenot
sexual exhibitions either. However, by representing deprivation as negative, they
retracted,asitwere,theprostitutionoftheimpulseandrescuedbymediationwhatwas
denied.Thesecretofaestheticsublimationisitsrepresentationoffulllmentasabroken
promise.Thecultureindustrydoesnotsublimate;itrepresses.Byrepeatedlyexposingthe
objectsofdesire,breastsinaclingingsweaterorthenakedtorsooftheathletichero,it
onlystimulatestheunsublimatedforepleasurewhichhabitualdeprivationhaslongsince
reducedtoamasochisticsemblance.Thereisnoeroticsituationwhich,whileinsinuating

andexciting,doesnotfailtoindicateunmistakablythatthingscannevergothatfar.The
Hays Ofce merely conrms the ritual of Tantalus that the culture industry has
established anyway. Works of art are ascetic and unashamed; the culture industry is
pornographicandprudish.Loveisdowngradedtoromance.And,afterthedescent,much
is permitted; even license as a marketable speciality has its quota bearing the trade
description daring. The mass production of the sexual automatically achieves its
repression.Becauseofhisubiquity,thelmstarwithwhomoneismeanttofallinloveis
fromtheoutsetacopyofhimself.EverytenorvoicecomestosoundlikeaCarusorecord,
andthenaturalfacesofTexasgirlsarelikethesuccessfulmodelsbywhomHollywood
hastypecastthem.Themechanicalreproductionofbeauty,whichreactionarycultural
fanaticismwholeheartedlyservesinitsmethodicalidolizationofindividuality,leavesno
roomforthatunconsciousidolatrywhichwasonceessentialtobeauty.Thetriumphover
beautyiscelebratedbyhumortheSchadenfreudethateverysuccessfuldeprivationcalls
forth. There is laughter because there is nothing to laugh at. Laughter, whether
conciliatory or terrible, always occurs when some fear passes. It indicates liberation
eitherfromphysicaldangerorfromthegripoflogic.Conciliatorylaughterisheardasthe
echoofanescapefrompower;thewrongkindovercomesfearbycapitulatingtothe
forceswhicharetobefeared.Itistheechoofpowerassomethinginescapable.Funisa
medicinalbath.Thepleasureindustryneverfailstoprescribeit.Itmakeslaughterthe
instrument of the fraud practised on happiness. Moments of happiness are without
laughter; only operettas and lms portray sex to the accompaniment of resounding
laughter.ButBaudelaireisasdevoidofhumourasHolderlin.Inthefalsesocietylaughter
isadiseasewhichhasattackedhappinessandisdrawingitintoitsworthlesstotality.To
laughatsomethingisalwaystoderideit,andthelifewhich,accordingtoBergson,in
laughterbreaksthroughthebarrier,isactuallyaninvadingbarbariclife,selfassertion
preparedtoparadeitsliberationfromanyscruplewhenthesocialoccasionarises.Sucha
laughingaudienceisaparodyofhumanity.Itsmembersaremonads,alldedicatedtothe
pleasureofbeingreadyforanythingattheexpenseofeveryoneelse.Theirharmonyisa
caricatureofsolidarity.Whatisendishaboutthisfalselaughteristhatitisacompelling
parodyofthebest,whichisconciliatory.Delightisaustere:resseveraverumgaudium15.
Themonastictheorythatnotasceticismbutthesexualactdenotestherenunciationofattainableblissreceivesnegativeconrmation
inthegravityoftheloverwhowithforebodingcommitshislifetotheeetingmoment.Inthecultureindustry,jovialdenialtakesthe
placeofthepainfoundinecstasyandinasceticism.Thesupremelawisthattheyshallnotsatisfytheirdesiresatanyprice;theymust
laughandbecontentwithlaughter.Ineveryproductofthecultureindustry,thepermanentdenialimposedbycivilizationisonce
againunmistakablydemonstratedandinictedonitsvictims.Toofferandtodeprivethemofsomethingisoneandthesame.Thisis
whathappensineroticlms.Preciselybecauseitmustnevertakeplace,everythingcentersuponcopulation.Inlmsitismorestrictly
forbiddenforanillegitimaterelationshiptobeadmittedwithoutthepartiesbeingpunishedthanforamillionairesfuturesoninlawto
be active inthe labor movement.Incontrasttothe liberalera,industrializedaswellaspopular culture maywaxindignantat
capitalism,butitcannotrenouncethethreatofcastration.Thisisfundamental.Itoutlaststheorganizedacceptanceoftheuni
15

Resseveraverumgaudium:Aharshthingisarealjoy.

TheodorAdornoandMaxHorkneimer11TheCultureIndustryformedseeninthelms
which are produced to that end, and in reality. What is decisive today is no longer
puritanism,althoughitstillassertsitselfintheformofwomensorganizations,butthe

necessityinherentinthesystemnottoleavethecustomeralone,notforamomentto
allowhimanysuspicionthatresistanceispossible.Theprincipledictatesthatheshould
be shown all his needs as capable offulllment, but that those needs should be so
predeterminedthathefeelshimselftobetheeternalconsumer,theobjectoftheculture
industry.Notonlydoesitmakehimbelievethatthedeceptionitpracticesissatisfaction,
butitgoesfurtherandimpliesthat,whateverthestateofaffairs,hemustputupwith
whatisoffered.Theescapefromeverydaydrudgerywhichthewholecultureindustry
promises may be compared to the daughters abduction in the cartoon: the father is
holdingtheladderinthedark.Theparadiseofferedbythecultureindustryisthesame
olddrudgery.Bothescapeandelopementarepredesignedtoleadbacktothestarting
point.Pleasurepromotestheresignationwhichitoughttohelptoforget.
Amusement,ifreleasedfromeveryrestraint,wouldnotonlybetheantithesisofartbut
itsextremerole.TheMarkTwainabsurditywithwhichtheAmericancultureindustry
irts at times might beacorrectiveofart. Themore seriouslythe latterregards the
incompatibilitywithlife,themoreitresemblestheseriousnessoflife,itsantithesis;the
moreeffortitdevotestodevelopingwhollyfromitsownformallaw,themoreeffortit
demands from the intelligence to neutralize its burden. In some revue lms, and
especiallyinthegrotesqueandthefunnies,thepossibilityofthisnegationdoesglimmer
forafewmoments.Butofcourseitcannothappen.Pureamusementinitsconsequence,
relaxedselfsurrendertoallkindsofassociationsandhappynonsense,iscutshortbythe
amusementonthemarket:instead,itisinterruptedbyasurrogateoverallmeaningwhich
thecultureindustryinsistsongivingtoitsproducts,andyetmisusesasamerepretextfor
bringing in the stars. Biographies and other simple stories patch the fragments of
nonsenseintoanidioticplot.Wedonothavethecapandbellsofthejesterbutthebunch
ofkeysofcapitalistreason,whichevenscreensthepleasureofachievingsuccess.Every
kissintherevuelmhastocontributetothecareeroftheboxer,orsomehitsongexpert
or other whose rise to fame is being gloried. The deception is not that the culture
industrysuppliesamusementbutthatitruinsthefunbyallowingbusinessconsiderations
toinvolveitintheideologicalclichesofacultureintheprocessofself

liquidation.Ethicsandtastecutshortunrestrainedamusementasnaivenaiveteis
thoughttobeasbadas intellectualismandevenrestricttechnicalpossibilities.The
cultureindustryiscorrupt;notbecauseitisasinfulBabylonbutbecauseitisacathedral
dedicatedtoelevatedpleasure.Onalllevels,fromHemingwaytoEmilLudwig,from
Mrs.Miniver16toTheLoneRanger,fromToscaninitoGuyLombardo,thereisuntruthin
theintellectualcontenttakenreadymadefromartandscience.Thecultureindustrydoes
retainatraceofsomethingbetterinthosefeatureswhichbringitclosetothecircus,in
theselfjustifyingandnonsensicalskillofriders,acrobatsandclowns,inthedefense
andjusticationofphysicalasagainstintellectualart. 17 Buttherefugesofamindless
artistrywhichrepresentswhatishumanasopposedtothesocialmechanismarebeing
relentlesslyhunteddownbyaschematicreasonwhichcompelseverythingtoproveits
signicanceandeffect.Theconsequenceisthatthenonsensicalatthebottomdisappears

asutterlyasthesenseinworksofartatthetop.
Thefusionofcultureandentertainmentthatistakingplacetodayleadsnotonlytoa
depravation of culture, but inevitably to an intellectualization of amusement. This is
evidentfromthefactthatonlythecopyappears:inthemovietheater,thephotograph;on
the radio, the recording. In the age of liberal expansion, amusement lived on the
unshakenbeliefinthefuture:thingswouldremainastheywereandevenimprove.Today
thisbeliefisoncemoreintellectualized;itbecomessofaintthatitlosessightofanygoal
and is little more than a magiclantern show forthose with their backs to reality. It
consistsofthemeaningfulemphaseswhich,paralleltolifeitself,thescreenplayputson
thesmartfellow,theengineer,thecapable
16

Mrs.Miniver:AnovelbyJanStruther(JoyceMaxtoneGraham,19011953),madeintoalm
starringGreerGarson.17FrankWedekind,GesammelteWerke,Vol.IX(Munich,1921),p.426.

Theodor Adorno and Max Horkneimer 12 The Culture Industry girl, ruthlessness
disguised as character, interest in sport, and nally automobiles and cigarettes, even
wheretheentertainmentisnotputdowntotheadvertisingaccountoftheimmediate
producers buttothatofthesystemasawhole.Amusementitselfbecomesanideal,
taking the place of the higher things ofwhich it completely deprives the masses by
repeating them in a manner even more stereotyped than the slogans paid for by
advertisinginterests.Inwardness,thesubjectivelyrestrictedformoftruth,wasalways
moreatthemercyoftheoutwardlypowerfulthantheyimagined.Thecultureindustry
turnsitintoanopenlie.Ithasnowbecomemeretwaddlewhichisacceptableinreligious
bestsellers,psychologicallms, andwomens serials as anembarrassinglyagreeable
garnish, so that genuine personal emotion in real life can be all the more reliably
controlled.Inthissenseamusementcarries outthatpurgationoftheemotionswhich
Aristotle once attributed to tragedy and Mortimer Adler now allows to movies. The
cultureindustryrevealsthetruthaboutcatharsisasitdidaboutstyle.
Thestrongerthepositionsofthecultureindustrybecome,themoresummarilyitcan
dealwithconsumersneeds,producingthem,controllingthem,discipliningthem,and
evenwithdrawingamusement:nolimitsaresettoculturalprogressofthiskind.Butthe
tendencyisimmanentintheprincipleofamusementitself,whichisenlightenedina
bourgeoissense.Iftheneedforamusementwasinlargemeasurethecreationofindustry,
which used the subject as a means of recommending the work to the massesthe
oleograph18 bythedaintymorselitdepicted,orthecakemixbyapictureofacake
amusementalwaysrevealstheinuenceofbusiness,thesalestalk,thequacksspiel.But
the original afnity of business and amusement is shown in the latters specic
signicance:todefendsociety.TobepleasedmeanstosayYes.Itispossibleonlyby
insulationfromthetotalityofthesocialprocess,bydesensitizationand,fromtherst,by
senselesslysacricingtheinescapableclaimofeverywork,howeverinane,withinits
limitstoreectthewhole.Pleasurealwaysmeansnottothinkaboutanything,toforget
suffering even where it is shown. Basically it is helplessness. It is ight; not, as is
asserted,ightfromawretchedreality,butfromthelastremainingthoughtofresistance.
Theliberationwhichamusementpromisesisfreedomfromthoughtandfromnegation.

Theeffronteryoftherhetoricalquestion,Whatdopeoplewant?liesinthefactthatitis
addressedasiftoreectiveindividualstothoseverypeoplewhoaredeliberatelyto
be deprived of this individuality. Even when the public doesexceptionallyrebel
againstthepleasureindustry,allitcanmusteristhatfeebleresistancewhichthatvery
industryhasinculcatedinit.Nevertheless,ithasbecomeincreasinglydifculttokeep
peopleinthiscondition.Therateatwhichtheyarereducedtostupiditymustnotfall
behindtherateatwhichtheirintelligenceisincreasing.Inthisageofstatisticsthemasses
aretoosharptoidentifythemselveswiththemillionaireonthescreen,andtooslow
wittedtoignorethelawofthelargestnumber.Ideologyconcealsitselfinthecalculation
ofprobabilities.Noteveryonewillbeluckyonedaybutthepersonwhodrawsthe
winningticket,orrathertheonewhoismarkedouttodosobyahigherpowerusually
bythepleasureindustryitself,whichisrepresentedasunceasinglyinsearchoftalent.
Thosediscoveredbytalentscoutsandthenpublicizedonavastscalebythestudioare
idealtypesofthenewdependentaverage.Ofcourse,thestarletismeanttosymbolizethe
typist in such a way that the splendid evening dress seems meant for the actress as
distinctfromtherealgirl.Thegirlsintheaudiencenotonlyfeelthattheycouldbeonthe
screen,butrealizethegreatgulfseparatingthemfromit.Onlyonegirlcandrawthe
luckyticket,onlyonemancanwintheprize,andif,mathematically,allhavethesame
chance,yetthisissoinnitesimalforeachonethatheorshewilldobesttowriteitoff
andrejoiceintheotherssuccess,whichmightjustaswellhavebeenhisorhers,and
somehowneveris.Wheneverthecultureindustrystillissuesaninvitationnaivelyto
identify,itisimmediatelywithdrawn.Noonecanescapefromhimselfanymore.Oncea
memberoftheaudiencecouldseehisownweddingintheoneshowninthelm.Now
theluckyactorsonthescreenarecopiesofthesamecategoryaseverymemberofthe
public,butsuchequalityonlydemonstratestheinsurmountable
18

Oleograph:aprintonclothtoimitateanoilpainting.

TheodorAdornoandMaxHorkneimer13TheCultureIndustryseparationofthehuman
elements.Theperfectsimilarityistheabsolutedifference.Theidentityofthecategory
forbidsthatoftheindividualcases.Ironically,manasamemberofaspecieshasbeen
madearealitybythecultureindustry.Nowanypersonsigniesonlythoseattributesby
whichhecanreplaceeverybodyelse:heisinterchangeable,acopy.Asanindividualhe
iscompletelyexpendableandutterlyinsignicant,andthisisjustwhathendsoutwhen
timedepriveshimofthissimilarity.Thischangestheinnerstructureofthereligionof
successotherwisestrictlymaintained.Increasingemphasisislaidnotonthepath per
asperaadastra19(whichpresupposeshardshipandeffort),butonwinningaprize.Theelementofblindchanceintheroutine
decisionaboutwhichsongdeservestobeahitandwhichextraaheroineisstressedbytheideology.Moviesemphasizechance.By
stoppingatnothingtoensurethatallthecharactersareessentiallyalike,withtheexceptionofthevillain,andbyexcludingnon
conformingfaces(forexample,thosewhich,likeGarbos,donotlookasifyoucouldsayHellosister!tothem),lifeismadeeasier
formoviegoersatrst.Theyareassuredthattheyareallrightastheyare,thattheycoulddojustaswellandthatnothingbeyond
theirpowerswillbeaskedofthem.Butatthesametimetheyaregivenahintthatanyeffortwouldbeuselessbecauseevenbourgeois
lucknolongerhasanyconnectionwiththecalculableeffectoftheirownwork.Theytakethehint.Fundamentallytheyallrecognize
chance(bywhichoneoccasionallymakeshisfortune)astheothersideofplanning.Preciselybecausetheforcesofsocietyareso
deployedinthedirectionofrationalitythatanyonemightbecomeanengineerorman ager,ithasceasedentirelytobe

arationalmatterwhotheonewillbeinwhomsocietywillinvesttrainingorcondence
forsuchfunctions.Chanceandplanningbecomeoneandthesamething,because,given
mensequality,individualsuccessandfailurerightuptothetoploseanyeconomic
meaning.Chanceitselfisplanned,notbecauseitaffectsanyparticularindividualbut
preciselybecauseitisbelievedtoplayavitalpart.Itservestheplannersasanalibi,and
makesitseemthatthecomplexoftransactionsandmeasuresintowhichlifehasbeen
transformed leaves scope for spontaneous and direct relations between man. This
freedom is symbolized in the various media of the culture industry by the arbitrary
selection of average individuals. In a magazines detailed accounts of the modestly
magnicentpleasuretripsithasarrangedfortheluckyperson,preferablyastenotypist
(whohasprobablywonthecompetitionbecauseofhercontactswithlocalbigwigs),the
powerlessnessofallisreected.Theyaremeremattersomuchsothatthoseincontrol
cantakesomeoneupintotheirheavenandthrowhimoutagain:hisrightsandhiswork
countfornothing.Industryisinterestedinpeoplemerelyascustomersandemployees,
andhasinfactreducedmankindasawholeandeachofitselementstothisallembracing
formula.Accordingtotherulingaspectatthetime,ideologyemphasizesplanorchance,
technologyorlife,civilizationornature.Asemployees,menareremindedoftherational
organizationandurgedtotinlikesensiblepeople.Ascustomers,thefreedomofchoice,
thecharmofnovelty,isdemonstratedtothemonthescreenorinthepressbymeansof
thehumanandpersonalanecdote.Ineithercasetheyremainobjects.
Thelessthecultureindustryhastopromise,thelessitcanofferameaningfulexplanation
oflife,andtheemptieristheideologyitdisseminates.Eventheabstractidealsofthe
harmonyandbenecenceofsocietyaretooconcreteinthisageofuniversalpublicity.
Wehaveevenlearnedhowtoidentifyabstractconceptsassalespropaganda.Language
basedentirelyontruthsimplyarousesimpatiencetogetonwiththebusinessdealitis
probablyadvancing.Thewordsthatarenotmeansappearsenseless;theothersseemto
be ction, untrue. Value judgments are taken either as advertising or as empty talk.
Accordinglyideologyhasbeenmadevagueandnoncommittal,andthusneitherclearer
norweaker.Itsveryvagueness,itsalmostscienticaversionfromcommittingitselfto
anythingwhichcannotbeveried,actsasaninstrumentofdomination.Itbecomesa
vigorousandprearrangedpromulgationofthestatusquo.Thecultureindustrytendsto
makeitselftheembodimentofauthoritativepronouncements,andthustheirrefutable
prophetoftheprevailingorder.Itskillfullysteersawindingcoursebetweenthecliffsof
demonstrablemisinformation
19

Perasperaadastra:Fromdusttothestars.

Theodor Adorno and Max Horkneimer 14 The Culture Industry and manifest truth,
faithfullyreproducingthephenomenonwhoseopaquenessblocksanyinsightandinstalls
theubiquitousandintactphenomenonasideal.Ideologyissplitintothephotographof
stubbornlifeandthenakedlieaboutitsmeaningwhichisnotexpressedbutsuggested
andyetdrummedin.Todemonstrateitsdivinenature,realityisalwaysrepeatedina
purely cynical way. Such a photological proof is of course not stringent, but it is
overpowering.Anyonewhodoubtsthepowerofmonotonyisafool.Thecultureindustry
refutes the objection made against it just as well as that against the world which it

impartiallyduplicates.Theonlychoiceiseithertojoininortobeleftbehind:those
provincialswhohaverecoursetoeternalbeautyandtheamateurstageinpreferenceto
thecinemaandtheradioarealreadypoliticallyatthepointtowhichmassculture
drivesitssupporters.Itissufcientlyhardenedtoderideasideology,ifneedbe,theold
wishfulllments, the fatherideal and absolute feeling. The new ideology has as its
objectstheworldassuch.Itmakesuseoftheworshipoffactsbynomorethanelevating
a disagreeable existence into the world of facts in representing it meticulously. This
transference makes existence itself a substitute for meaning and right. Whatever the
camerareproducesisbeautiful.Thedisappointmentoftheprospectthatonemightbethe
typist who wins the world trip is matched by the disappointing appearance of the
accuratelyphotographedareaswhichthevoyagemightinclude.NotItalyisoffered,but
evidencethatitexists.AlmcanevengosofarastoshowtheParisinwhichthe
Americangirlthinksshewillstillherdesireasahopelesslydesolateplace,thusdriving
herthemoreinexorablyintothearmsofthesmartAmericanboyshecouldhavemetat
home anyhow. That this goes on, that, in its most recent phase, the system itself
reproducesthelifeofthoseofwhomitconsistsinsteadofimmediatelydoingawaywith
them,isevenputdowntoitscreditasgivingitmeaningandworth.Continuingand
continuingtojoininaregivenasjusticationfortheblindpersistenceofthesystemand
evenforitsimmutability.Whatrepeatsitselfishealthy,likethenaturalorindustrial
cycle.Thesamebabiesgrineternallyoutofthemagazines;thejazzmachinewillpound
awayforever.Inspiteofalltheprogressinreproductiontechniques,incontrolsandthe
specialities,andinspiteofalltherestlessindustry,thebreadwhichthecultureindustry
offersmanisthestoneofthestereotype.Itdrawsonthelifecycle,onthewellfounded
amazementthatmothers,inspiteofeverything,stillgoonbearingchildrenandthatthe
wheels still do not grind to a halt. This serves to conrm the immutability of
circumstances.TheearsofcornblowinginthewindattheendofChaplinsTheGreat
DictatorgivethelietotheantiFascistpleaforfreedom.Theyareliketheblondhairof
the German girl whose camp life is photographed by the Nazi lm company in the
summerbreeze.Natureisviewedbythemechanismofsocialdominationasahealthy
contrasttosociety,andisthereforedenatured.Picturesshowinggreentrees,abluesky,
andmovingcloudsmaketheseaspectsofnatureintosomanycryptogramsforfactory
chimneysandservicestations.Ontheotherhand,wheelsandmachinecomponentsmust
seemexpressive,havingbeendegradedtothestatusofagentsofthespiritoftreesand
clouds. Nature and technology are mobilized against all opposition; and we have a
falsied memento of liberal society, in which people supposedly wallowed in erotic
plushlined bedrooms instead of taking openair baths as in the case today, or
experiencingbreakdownsinprehistoricBenzmodelsinsteadofshootingoffwiththe
speedofarocketfromA(whereoneisanyhow)toB(whereeverythingisjustthesame).
Thetriumphofthegiganticconcernovertheinitiativeoftheentrepreneurispraisedby
thecultureindustryasthepersistenceofentrepreneurialinitiative.Theenemywhois
already defeated, the thinking individual, is the enemy fought. The resurrection in
Germany of the antibourgeois Haus Sonnenstosser, and the pleasure felt when
watchingLifewithFather,haveoneandthesamemeaning.

Theodor Adorno and Max Horkneimer 15 The Culture Industry In one respect,
admittedly,thishollowideologyisindeadlyearnest:everyoneisprovidedfor.Noone
mustgohungryorthirsty;ifanyonedoes,hesfortheconcentrationcamp!Thisjoke
fromHitlersGermanymightshineforthasamaximfromabovealltheportalsofthe
cultureindustry.Withslynaivete,itpresupposesthemostrecentcharacteristicofsociety:
that it can easily nd out who its supporters are. Everybody is guaranteed formal
freedom.Nooneisofciallyresponsibleforwhathethinks.Insteadeveryoneisenclosed
atanearlyageinasystemofchurches,clubs,professionalassociations,andothersuch
concerns,whichconstitutethemostsensitiveinstrumentofsocialcontrol.Anyonewho
wantstoavoidruinmustseethatheisnotfoundwantingwhenweighedinthescalesof
thisapparatus.Otherwisehewilllagbehindinlife,andnallyperish.Ineverycareer,
and especially in the liberal professions, expert knowledge is linked with prescribed
standardsofconduct;thiscaneasilyleadtotheillusionthatexpertknowledgeistheonly
thing that counts. In fact, it is part of the irrational planning of this society that it
reproducestoacertaindegreeonlythelivesofitsfaithfulmembers.Thestandardoflife
enjoyed corresponds very closely to the degree to which classes and individuals are
essentiallyboundupwiththesystem.Themanagercanbereliedupon,ascanthelesser
employeeDagwoodasheisinthecomicpagesorinreallife.Anyonewhogoescold
andhungry,evenifhisprospectswereoncegood,isbranded.Heisanoutsider;and,
apartfromcertaincapitalcrimes,themostmortalofsinsistobeanoutsider.Inlmshe
sometimes,andasanexception,becomesanoriginal,theobjectofmaliciouslyindulgent
humor;butusuallyheisthevillain,andisidentiedassuchatrstappearance,long
beforetheactionreallygetsgoing:henceavoidinganysuspicionthatsocietywouldturn
onthoseofgoodwill.Higherupthescale,infact,akindofwelfarestateiscominginto
beingtoday.Inordertokeeptheirownpositions,menintoppostsmaintaintheeconomy
inwhichahighlydevelopedtechnologyhasinprinciplemadethemassesredundantas
producers.Theworkers,therealbreadwinners,arefed(ifwearetobelievetheideology)
by the managers of the economy, the fed. Hence the individuals position becomes
precarious.Underliberalismthepoorwerethoughttobelazy;nowtheyareautomatically
objects of suspicion. Anybody who is not provided for outside should be in a
concentrationcamp,oratanyrateinthehellofthemostdegradingworkandtheslums.
Thecultureindustry,however,reectspositiveandnegativewelfareforthoseunderthe
administratorscontrolasdirecthumansolidarityofmeninaworldoftheefcient.No
oneisforgotten;everywherethereareneighborsandwelfareworkers,Dr.Gillespiesand
parlor philosophers whose hearts are in the right place and who, by their kind
interventionasofmantoman,cureindividualcasesofsociallyperpetuateddistress
alwaysprovidedthatthereisnoobstacleinthepersonaldepravityoftheunfortunate.The
promotionofafriendlyatmosphereasadvisedbymanagementexpertsandadoptedby
everyfactorytoincreaseoutput,bringseventhelastprivateimpulseundersocialcontrol
preciselybecauseitseemstorelatemenscircumstancesdirectlytoproduction,andto
reprivatizethem.Suchspiritualcharitycastsaconciliatoryshadowontotheproductsof
thecultureindustrylongbeforeitemergesfromthefactorytoinvadesocietyasawhole.
Yetthegreatbenefactorsofmankind,whosescienticachievementshavetobewritten
upasactsofsympathytogivethemanarticialhumaninterest,aresubstitutesforthe

nationalleaders,whonallydecreetheabolitionofsympathyandthinktheycanprevent
anyrecurrencewhenthelastinvalidhasbeenexterminated.
Byemphasizingtheheartofgold,societyadmitsthesufferingithascreated:everyone
knowsthatheisnowhelplessinthesystem,andideologyhastotakethisintoaccount.
Far from concealing suffering under the cloak of improvised fellowship, the culture
industrytakesprideinlookingitinthefacelikeaman,howevergreatthestrainonself
control.Thepathosofcomposurejustiestheworldwhichmakesitnecessary.Thatis
lifeveryhard,butjustbecauseofthatsowonderfulandsohealthy.Thisliedoesnot
shrinkfromtragedy.Massculturedealswithit,inthesamewayascentralizedsociety
doesnotabolishthesufferingofitsmembersbutrecordsandplansit.Thatitiswhyit
borrows so persistently from art. This provides the tragic substance which pure
amusementcannotitselfsupply,butwhichitneedsifitissomehowtoremainfaithfulto
theprincipleoftheexactreproductionofphenomena.Tragedy
TheodorAdornoandMaxHorkneimer16 TheCultureIndustry madeintoacarefully
calculatedandacceptedaspectoftheworldisablessing.Itisasafeguardagainstthe
reproachthattruthisnotrespected,whereasitisreallybeingadoptedwithcynicalregret.
Totheconsumerwhoculturallyhasseenbetterdaysitoffersasubstituteforlong
discardedprofundities.Itprovidestheregularmoviegoerwiththescrapsofculturehe
musthaveforprestige.Itcomfortsallwiththethoughtthatatough,genuinehumanfate
isstillpossible,andthatitmustatallcostsberepresenteduncompromisingly.Lifeinall
theaspectswhichideologytodaysetsouttoduplicateshowsupallthemoregloriously,
powerfullyandmagnicently,themoreitisredolentofnecessarysuffering.Itbeginsto
resemblefate.Tragedyisreducedtothethreattodestroyanyonewhodoesnotcooperate,
whereasitsparadoxicalsignicanceoncelayinahopelessresistancetomythicdestiny.
Tragicfatebecomesjustpunishment,whichiswhatbourgeoisaestheticsalwaystriedto
turnitinto.Themoralityofmasscultureisthecheapformofyesterdayschildrens
books. In a rstclass production, for example, the villainous character appears as a
hystericalwomanwho(withpresumedclinicalaccuracy)triestoruinthehappinessof
heroppositenumber,whoistruertoreality,andherselfsuffersaquiteuntheatricaldeath.
Somuchlearningisofcoursefoundonlyatthetop.Lowerdownlesstroubleistaken.
Tragedyismadeharmlesswithoutrecoursetosocialpsychology.JustaseveryViennese
operettaworthyofthenamehadtohaveitstragicnaleinthesecondact,whichleft
nothingforthethirdexcepttoclearupmisunderstandings,thecultureindustryassigns
tragedyaxedplaceintheroutine.Thewellknownexistenceoftherecipeisenoughto
allay any fear that there is no restraint on tragedy. The description of the dramatic
formulabythehousewifeasgettingintotroubleandoutagainembracesthewholeof
massculturefromtheidioticwomensserialtothetopproduction.Eventheworstending
whichbeganwithgoodintentionsconrmstheorderofthingsandcorruptsthetragic
force,eitherbecausethewomanwhoseloverunscountertothelawsofthegameplays
withherdeathforabriefspellofhappiness,orbecausethesadendinginthelmallthe
more clearly stresses the indestructibility of actual life. The tragic lm becomes an
institution for moral improvement. The masses, demoralized by their life under the
pressureofthesystem,andwhoshowsignsofcivilizationonlyinmodesofbehavior

which have been forced on them and through which fury and recalcitrance show
everywhere,aretobekeptinorderbythesightofaninexorablelifeandexemplary
behavior. Culture has always played its part in taming revolutionary and barbaric
instincts.Industrialcultureaddsitscontribution.Itshowstheconditionunderwhichthis
mercilesslifecanbelivedatall.Theindividualwhoisthoroughlywearymustusehis
wearinessasenergyforhissurrendertothecollectivepowerwhichwearshimout.In
lms,thosepermanentlydesperatesituationswhichcrushthespectatorinordinarylife
somehowbecomeapromisethatonecangoonliving.Onehasonlytobecomeawareof
onesownnothingness,onlytorecognizedefeatandoneisonewithitall.Societyisfull
ofdesperatepeopleandthereforepreytorackets.InsomeofthemostsignicantGerman
novels of the preFascist era such as Doblins Berlin Alexanderplatz and Falladas
KleinerMann,WasNun,thistrendwasasobviousasintheaveragelmandinthe
devicesofjazz.Whatallthesethingshaveincommonistheselfderisionofman.The
possibilityofbecomingasubjectintheeconomy,anentrepreneuroraproprietor,has
beencompletelyliquidated.Rightdowntothehumblestshop,theindependententerprise,
onthemanagementandinheritanceofwhichthebourgeoisfamilyandthepositionofits
headhadrested,becamehopelesslydependent.Everybodybecameanemployee;andin
thiscivilizationofemployeesthedignityofthefather(questionableanyhow)vanishes.
Theattitudeoftheindividualtotheracket,business,professionorparty,beforeorafter
admission, the Fuhrers gesticulations before the masses, or the suitors before his
sweetheart,assumespecicallymasochistictraits.Theattitudeintowhicheverybodyis
forcedinordertogiverepeatedproofofhismoralsuitabilityforthissocietyremindsone
oftheboyswho,duringtribalinitiation,goroundinacirclewithastereotypedsmileon
their faces while the priest strikes them. Life in the late capitalist era is a constant
initiation rite. Everyone must show that he wholly identies himself with the power
which is belaboring him. This occurs in the principle of jazz syncopation, which
simultaneously derides stumbling and makes it a rule. The eunuchlike voice of the
croonerontheradio,theheiresss
TheodorAdornoandMaxHorkneimer17TheCultureIndustrysmoothsuitor,whofalls
intotheswimmingpoolinhisdinnerjacket,aremodelsforthosewhomustbecome
whateverthesystemwants.Everyonecanbelikethisomnipotentsociety;everyonecan
behappy,ifonlyhewillcapitulatefullyandsacricehisclaimtohappiness.Inhis
weaknesssocietyrecognizesitsstrength,andgiveshimsomeofit.Hisdefenselessness
makeshimreliable.Hencetragedyisdiscarded.Oncetheoppositionoftheindividualto
society was its substance. It gloried the bravery and freedom ofemotion before a
powerfulenemy,anexaltedafiction,adreadfulproblem. 20Todaytragedyhasmeltedawayintothe
nothingnessofthatfalseidentityofsocietyandindividual,whoseterrorstillshowsforamomentintheemptysemblanceofthetragic.
But the miracle of integration, the permanent act of grace by the authority who receives the defenseless persononce he has
swallowedhisrebelliousnesssigniesFascism.ThiscanbeseeninthehumanitarianismwhichDoblinusestolethisBiberkopfnd
refuge,andagaininsociallyslantedlms.Thecapacitytondrefuge,tosurviveonesownruin,bywhichtragedyisdefeated,is
foundinthenewgeneration;theycandoanyworkbecausetheworkprocessdoesnotletthembecomeattachedtoany.Thisis
reminiscentofthesadlackofconvictionofthehomecomingsoldierwithnointerestinthewar,orofthecasuallaborerwhoendsup
byjoiningaparamilitaryorganization.Thisliquidationoftragedyconrmstheabolitionoftheindividual.

In the culture industry the individual is an illusion not merely because of the
standardizationofthemeansofproduction.Heistoleratedonlysolongashiscomplete
identicationwiththegeneralityisunquestioned.Pseudoindividualityisrife:fromthe
standardizedjazzimprovisationtotheexceptionallmstarwhosehaircurlsoverhereye
todemonstrateheroriginality.Whatisindividualisnomorethanthegeneralityspower
tostamptheaccidentaldetailsormlythatitisacceptedassuch.Thedeantreserveor
elegantappearanceoftheindividualonshowismassproducedlikeYalelocks,whose
onlydifferencecanbemeasuredinfractionsofmillimeters.Thepeculiarityoftheselfis
amonopolycommoditydeterminedbysociety;itisfalselyrepresentedasnatural.Itisno
morethanthemustache,theFrenchaccent,thedeepvoiceofthewomanoftheworld,the
Lubitschtouch:ngerprintsonidentitycardswhichareotherwiseexactlythesame,and
intowhichthelivesandfacesofeverysinglepersonaretransformedbythepowerofthe
generality. Pseudo individuality is the prerequisite for comprehending tragedy and
removingitspoison:onlybecauseindividualshaveceasedtobethemselvesandarenow
merelycenterswherethegeneraltendenciesmeet,isitpossibletoreceivethemagain,
wholeandentire,intothegenerality.Inthiswaymassculturedisclosesthectitious
characteroftheindividualinthebourgeoisera,andismerelyunjustinboastingon
accountofthisdrearyharmonyofgeneralandparticular.Theprincipleofindividuality
was always full of contradiction. Individuation has never really been achieved. Self
preservationintheshapeofclasshaskepteveryoneatthestageofamerespeciesbeing.
Every bourgeois characteristic, in spite of its deviation and indeed because of it,
expressedthesamething:theharshnessofthecompetitivesociety.Theindividualwho
supportedsocietyboreitsdisguringmark;seeminglyfree,hewasactuallytheproduct
ofitseconomicandsocialapparatus.Powerbaseditselfontheprevailingconditionsof
powerwhenitsoughttheapprovalofpersonsaffectedbyit.Asitprogressed,bourgeois
societydidalsodeveloptheindividual.Againstthewillofitsleaders,technologyhas
changed human beings from children into persons. However, every advance in
individuationofthiskindtookplaceattheexpenseoftheindividualityinwhosenameit
occurred,sothatnothingwasleftbuttheresolvetopursueonesownparticularpurpose.
Thebourgeoiswhoseexistenceissplitintoabusinessandaprivatelife,whoseprivate
lifeissplitintokeepinguphispublicimageandintimacy,whoseintimacyissplitintothe
surlypartnershipofmarriageandthebittercomfortofbeingquitealone,atoddswith
himselfandeverybodyelse,isalreadyvirtuallyaNazi,repletebothwithenthusiasmand
abuse; or a modern citydweller who can now only imagine friendship as a social
contact:thatis,asbeinginsocialcontactwithotherswithwhomhehasnoinward
contact.Theonlyreasonwhythecultureindustrycandealso
20

Nietzsche,Gotzendd
ammerung,Werke,Vol.VIII,p.136.

Theodor Adorno and Max Horkneimer 18 The Culture Industry successfully with
individualityisthatthelatterhasalwaysreproducedthefragilityofsociety.Onthefaces
of private individuals and movie heroes put together according to the patterns on
magazinecoversvanishesapretenseinwhichnoonenowbelieves;thepopularityofthe

hero models comes partly from a secret satisfaction that the effort to achieve
individuationhasatlastbeenreplacedbytheefforttoimitate,whichisadmittedlymore
breathless.Itisidletohopethatthisselfcontradictory,disintegratingpersonwillnot
lastforgenerations,thatthesystemmustcollapsebecauseofsuchapsychologicalsplit,
orthatthedeceitfulsubstitutionofthestereotypefortheindividualwillofitselfbecome
unbearableformankind.SinceShakespeares Hamlet,theunityofthepersonalityhas
beenseenthroughasapretense.Syntheticallyproducedphysiognomiesshowthatthe
peopleoftodayhavealreadyforgottenthattherewaseveranotionofwhathumanlife
was.ForcenturiessocietyhasbeenpreparingforVictorMatureandMickeyRooney.By
destroyingtheycometofulll.
Theidolizationofthecheapinvolvesmakingtheaveragetheheroic.Thehighestpaid
stars resemble pictures advertising unspecied proprietary articles. Not without good
purposearetheyoftenselectedfromthehostofcommercialmodels.Theprevailingtaste
takesitsidealfromadvertising,thebeautyinconsumption.HencetheSocraticsaying
thatthebeautifulistheusefulhasnowbeenfullledironically.Thecinemamakes
propagandaforthe culture combine as awhole; onradio,goods forwhose sake the
culturalcommodityexistsarealsorecommendedindividually.Forafewcoinsonecan
seethelmwhichcostmillions,forevenlessonecanbuythechewinggumwhose
manufacture involved immense riches a hoard increased still further by sales. In
absentia,butbyuniversalsuffrage,thetreasureofarmiesisrevealed,butprostitutionis
notallowedinsidethecountry.Thebestorchestrasintheworldclearlynotsoare
broughtintoyourlivingroomfreeofcharge.Itisallaparodyoftheneverneverland,
justasthenationalsocietyisaparodyofthehumansociety.Younameit,wesupplyit.A
man up from the country remarked at the old Berlin Metropol theater that it was
astonishingwhattheycoulddoforthemoney;hiscommenthaslongsincebeenadopted
by the culture industry and made the very substance of production. This is always
coupled with the triumph that it is possible; but this, in large measure, is the very
triumph.Puttingonashowmeansshowingeverybodywhatthereis,andwhatcanbe
achieved.Eventodayitisstillafair,butincurablysickwithculture.Justasthepeople
whohadbeenattractedbythefairgroundbarkersovercametheirdisappointmentinthe
boothswithabravesmile,becausetheyreallyknewinadvancewhatwouldhappen,so
themoviegoersticksknowinglytotheinstitution.Withthecheapnessofmassproduced
luxurygoodsanditscomplement,theuniversalswindle,achangeinthecharacterofthe
artcommodityitselfiscomingabout.Whatisnewisnotthatitisacommodity,butthat
todayitdeliberatelyadmitsitisone;thatartrenouncesitsownautonomyandproudly
takes its place among consumption goods constitutes the charm of novelty. Art as a
separatespherewasalwayspossibleonlyinabourgeoissociety.Evenasanegationof
thatsocialpurposivenesswhichisspreadingthroughthemarket,itsfreedomremains
essentiallyboundupwiththepremiseofacommodityeconomy.Pureworksofartwhich
denythecommoditysocietybytheveryfactthattheyobeytheirownlawwerealways
wares all the same. In so far as, until the eighteenth century, the buyers patronage
shieldedtheartistfromthemarket,theyweredependentonthebuyerandhisobjectives.
Thepurposelessnessofthegreatmodernworkofartdependsontheanonymityofthe
market.Itsdemandspassthroughsomanyintermediariesthattheartistisexemptfrom

anydeniterequirementsthoughadmittedlyonlytoacertaindegree,forthroughoutthe
wholehistoryofthebourgeoisiehisautonomywasonlytolerated,andthuscontainedan
elementofuntruthwhichultimatelyledtothesocialliquidationofart.Whenmortally
sick,BeethovenhurledawayanovelbySirWalterScottwiththecry:Why,thefellow
writes for money, and yet proveda most experienced and stubbornbusinessman in
disposingofthelastquartets,whichwereamostextremerenunciationofthemarket;he
is the most outstanding example of the unity of those opposites, market and
independence,inbourgeoisart.Thosewhosuccumbtotheideologyarepreciselythose
whocoverupthecontradictioninsteadoftakingitintotheconsciousnessof
TheodorAdornoandMaxHorkneimer19TheCultureIndustrytheirownproductionas
Beethovendid:hewentontoexpressinmusichisangeratlosingafewpence,and
derivedthemetaphysicalEsMussSein21(whichattemptsanaestheticbanishmentofthe
pressureoftheworldbytakingitintoitself)fromthehousekeepersdemandforher
monthlywages.Theprincipleofidealisticaestheticspurposefulnesswithoutapurpose
reverses the scheme of things to which bourgeois art conforms socially:
purposelessness for the purposes declared by the market. At last, in the demand for
entertainmentandrelaxation,purposehasabsorbedtherealmofpurposelessness.Butas
theinsistencethatartshouldbedisposableintermsofmoneybecomesabsolute,ashiftin
theinternalstructureofculturalcommoditiesbeginstoshowitself.Theusewhichmenin
thisantagonisticsocietypromisethemselvesfromtheworkofartisitself,toagreat
extent,thatveryexistenceoftheuselesswhichisabolishedbycompleteinclusionunder
use.Theworkofart,bycompletelyassimilatingitselftoneed,deceitfullydeprivesmen
ofpreciselythatliberationfromtheprincipleofutilitywhichitshouldinaugurate.What
might be called use value in the reception of cultural commodities is replaced by
exchangevalue;inplaceofenjoymenttherearegalleryvisitingandfactualknowledge:
theprestigeseekerreplacestheconnoisseur.Theconsumerbecomestheideologyofthe
pleasureindustry,whoseinstitutionshecannotescape.Onesimplyhastohaveseen
Mrs.Miniver,justasonehastosubscribeto Life and Time.Everythingislookedat
fromonlyoneaspect:thatitcanbeusedforsomethingelse,howevervaguethenotionof
thisusemaybe.Noobjecthasaninherentvalue;itisvaluableonlytotheextentthatit
canbeexchanged.Theusevalueofart,itsmodeofbeing,istreatedasafetish;andthe
fetish,theworkssocialrating(misinterpretedasitsartisticstatus)becomesitsusevalue
theonlyqualitywhichisenjoyed.Thecommodityfunctionofartdisappearsonlytobe
wholly realized when art becomes a species of commodity instead, marketable and
interchangeablelikeanindustrialproduct.Butartasatypeofproductwhichexistedtobe
soldandyettobeunsaleableiswhollyandhypocriticallyconvertedintounsaleability
assoonasthetransactionceasestobethemereintentionandbecomesitssoleprinciple.
No tickets could be bought when Toscanini conducted over the radio; he was heard
withoutcharge,andeverysoundofthesymphonywasaccompanied,asitwere,bythe
sublimepuffthatthesymphonywasnotinterruptedbyanyadvertising:Thisconcertis
broughttoyouasapublicservice.Theillusionwasmadepossiblebytheprotsofthe
unitedautomobileandsoapmanufacturers,whosepaymentskeeptheradiostationsgoing
and,ofcourse,bytheincreasedsalesoftheelectricalindustry,whichmanufacturesthe
radiosets.Radio,theprogressivelatecomerofmassculture,drawsalltheconsequences

atpresentdeniedthelmbyitspseudomarket.Thetechnicalstructureofthecommercial
radio system makes it immune from liberal deviations such as those the movie
industrialistscanstillpermitthemselvesintheirownsphere.Itisaprivateenterprise
whichreallydoesrepresentthesovereignwholeandisthereforesomedistanceaheadof
theotherindividualcombines.Chestereldismerelythenationscigarette,buttheradio
is the voice of the nation. In bringing cultural products wholly into the sphere of
commodities, radio does not try to dispose of its culture goods themselves as
commoditiesstraighttotheconsumer.InAmericaitcollectsnofeesfromthepublic,and
sohasacquiredtheillusoryformofdisinterested,unbiasedauthoritywhichsuitsFascism
admirably.TheradiobecomestheuniversalmouthpieceoftheFuhrer;hisvoicerises
from streetloudspeakers toresemblethe howlingofsirens announcing panicfrom
whichmodernpropagandacanscarcelybedistinguishedanyway.TheNationalSocialists
knewthatthewirelessgaveshapetotheircausejustastheprintingpressdidtothe
Reformation.ThemetaphysicalcharismaoftheFuhrerinventedbythesociologyof
religionhasnallyturnedouttobenomorethantheomnipresenceofhisspeechesonthe
radio, which are a demoniacal parody of the omnipresence of the divine spirit. The
gigantic fact that the speech penetrates everywhere replaces its content, just as the
benefactionoftheToscaninibroadcasttakestheplaceofthesymphony.Nolistenercan
graspitstruemeaninganylonger,whiletheFuhrersspeechisliesanyway.Theinherent
tendencyofradioistomakethespeakersword,thefalsecommandment,
21

EsMussSein:Itmustbe!(AreferencetoBeethovenslaststringquartet,inwhichthelastmovement
beginswiththemusicalmottoEsmusssein!.)TheodorAdornoandMaxHorkneimer20The

CultureIndustry
absolute. A recommendation becomes an order. The recommendation of the same
commodities under different proprietary names, the scientically based praise of the
laxativeintheannouncerssmoothvoicebetweentheoverturefromLaTraviataandthat
fromRienzi22istheonlythingthatnolongerworks,becauseofitssilliness.Onedaythe
edictofproduction,theactualadvertisement(whoseactualityisatpresentconcealedby
thepretenseofachoice)canturnintotheopencommandoftheFuhrer.Inasocietyof
huge Fascist rackets which agree among themselves what part of the social product
should be allotted to the nations needs, it would eventually seem anachronistic to
recommend the use of a particular soap powder. The Fuhrer is more uptodate in
unceremoniouslygivingdirectordersforboththeholocaustandthesupplyofrubbish.
Eventodaythecultureindustrydressesworksofartlikepoliticalslogansandforcesthem
uponaresistantpublicatreducedprices;theyareasaccessibleforpublicenjoymentasa
park.Butthedisappearanceoftheirgenuinecommoditycharacterdoesnotmeanthat
theyhavebeenabolishedinthelifeofafreesociety,butthatthelastdefenseagainsttheir
reductiontoculturegoodshasfallen.Theabolitionofeducationalprivilegebythedevice
of clearance sales does not open for the masses the spheres from which they were
formerlyexcluded,but,givenexistingsocialconditions,contributesdirectlytothedecay
ofeducationandtheprogressofbarbaricmeaninglessness.Thosewhospenttheirmoney
in the nineteenth or the early twentieth century to see a play or to go to a concert
respectedtheperformanceasmuchasthemoneytheyspent.Thebourgeoiswhowanted

togetsomethingoutofittriedoccasionallytoestablishsomerapportwiththework.
Evidence for this is to be found in the literary introductions to works, or in the
commentarieson Faust.Theseweretherststepstowardthebiographicalcoatingand
otherpracticestowhichaworkofartissubjectedtoday.Evenintheearly,prosperous
days of business, exchangevalue did carry use value as a mere appendix but had
developeditasaprerequisiteforitsownexistence;thiswassociallyhelpfulforworksof
art.Artexercisedsomerestraintonthebourgeoisaslongasitcostmoney.Thatisnowa
thingofthepast.Nowthatithaslosteveryrestraintandthereisnoneedtopayany
money,theproximityofarttothosewhoareexposedtoitcompletesthealienationand
assimilatesonetotheotherunderthebanneroftriumphantobjectivity.Criticismand
respectdisappearinthecultureindustry;theformerbecomesamechanicalexpertise,the
latter is succeeded by a shallow cult of leading personalities. Consumers now nd
nothingexpensive.Nevertheless,theysuspectthatthelessanythingcosts,thelessitis
beinggiventhem.Thedoublemistrustoftraditionalcultureasideologyiscombinedwith
mistrustofindustrializedcultureasaswindle.Whenthrowninfree,thenowdebased
works of art, together with the rubbish to which the medium assimilates them, are
secretlyrejectedbythefortunaterecipients,whoaresupposedtobesatisedbythemere
factthatthereissomuchtobeseenandheard.Everythingcanbeobtained.Thescreenos
andvaudevillesinthemovietheater,thecompetitionsforguessingmusic,thefreebooks,
rewards and gifts offered on certain radio programs, are not mere accidents but a
continuationofthepracticeobtainingwithcultureproducts.Thesymphonybecomesa
rewardforlisteningtotheradio,andiftechnologyhaditswaythelmwouldbe
delivered to peoples homes as happens with the radio. It is moving toward the
commercial system. Television points the way to a development which might easily
enoughforcetheWarnerBrothersintowhatwouldcertainlybetheunwelcomeposition
ofseriousmusiciansandculturalconservatives.Butthegiftsystemhasalreadytaken
holdamongconsumers.Ascultureisrepresentedasabonuswithundoubtedprivateand
socialadvantages,theyhavetoseizethechance.Theyrushinlesttheymisssomething.
Exactly what, is not clear, but in any case the only ones with a chance are the
participants.Fascism,however,hopestousethetrainingthecultureindustryhasgiven
theserecipientsofgifts,inordertoorganizethemintoitsownforcedbattalions.

22

LaTraviataandRienzi:two19thcenturyoperasbyGiuseppiVerdi.

TheodorAdornoandMaxHorkneimer21TheCultureIndustryCultureisaparadoxical
commodity. So completely is it subject to the law of exchange that it is no longer
exchanged;itissoblindlyconsumedinusethatitcannolongerbeused.Thereforeit
amalgamates with advertising. The more meaningless the latter seems to be under a
monopoly,themoreomnipotentitbecomes.Themotivesaremarkedlyeconomic.One
couldcertainlylivewithoutthecultureindustry,thereforeitnecessarilycreatestoomuch
satiationandapathy.Initself,ithasfewresourcesitselftocorrectthis.Advertisingisits
elixiroflife.Butasitsproductneverfailstoreducetoamerepromisetheenjoyment
whichitpromisesasacommodity,iteventuallycoincideswithpublicity,whichitneeds

becauseitcannotbeenjoyed.Inacompetitivesociety,advertisingperformedthesocial
serviceofinformingthebuyeraboutthemarket;itmadechoiceeasierandhelpedthe
unknownbutmoreefcientsuppliertodisposeofhisgoods.Farfromcostingtime,it
savedit.Today,whenthefreemarketiscomingtoanend,thosewhocontrolthesystem
areentrenchingthemselvesinit.Itstrengthensthermbondbetweentheconsumersand
thebigcombines.Onlythosewhocanpaytheexorbitantrateschargedbytheadvertising
agencies,chiefofwhicharetheradionetworksthemselves;thatis,onlythosewhoare
alreadyinapositiontodoso,orarecooptedbythedecisionofthebanksandindustrial
capital,canenterthepseudomarketassellers.Thecostsofadvertising,whichnally
owbackintothepocketsofthecombines,makeitunnecessarytodefeatunwelcome
outsidersbylaboriouscompetition.Theyguaranteethatpowerwillremaininthesame
handsnotunlikethoseeconomicdecisionsbywhichtheestablishmentandrunningof
undertakingsiscontrolledinatotalitarianstate.Advertisingtodayisanegativeprinciple,
a blocking device: everything that does not bear its stamp is economically suspect.
Universalpublicityisinnowaynecessaryforpeopletogettoknowthekindsofgoods
whosesupplyisrestrictedanyway.Ithelpssalesonlyindirectly.Foraparticularrm,to
phaseoutacurrentadvertisingpracticeconstitutesalossofprestige,andabreachofthe
disciplineimposedbytheinuentialcliqueonitsmembers.Inwartime,goodswhichare
unobtainablearestilladvertised,merelytokeepindustrialpowerinview.Subsidizing
ideologicalmediaismoreimportantthantherepetitionofthename.Becausethesystem
obligeseveryproducttouseadvertising,ithaspermeatedtheidiomthestyleofthe
cultureindustry.Itsvictoryissocompletethatitisnolongerevidentinthekeypositions:
thehugebuildingsofthetopmen,oodlitstoneadvertisements,arefreeofadvertising;at
most they exhibit on the rooftops, in monumental brilliance and without any self
glorication,thermsinitials.But,incontrast,thenineteenthcenturyhouses,whose
architecturestillshamefullyindicatesthattheycanbeusedasaconsumptioncommodity
andareintendedtobelivedin,arecoveredwithpostersandinscriptionsfromtheground
rightuptoandbeyondtheroof:untiltheybecomenomorethanbackgroundsforbills
and signboards. Advertising becomes art and nothing else, just as Goebbelswith
foresightcombines them: lart pour lart, advertising for its own sake, a pure
representation ofsocial power. Inthemost inuentialAmericanmagazines, Life and
Fortune,aquickglancecannowscarcelydistinguishadvertisingfromeditorialpicture
andtext.Thelatterfeaturesanenthusiasticandgratuitousaccountofthegreatman(with
illustrationsofhislifeandgroominghabits)whichwillbringhimnewfans,whilethe
advertisementpagesusesomanyfactualphotographsanddetailsthattheyrepresentthe
ideal of information which the editorial part has only begun to try to achieve. The
assemblylinecharacterofthecultureindustry,thesynthetic,plannedmethodofturning
outitsproducts(factorylikenotonlyinthestudiobut,moreorless,inthecompilationof
cheap biographies, pseudodocumentary novels, and hit songs) is very suited to
advertising:theimportantindividualpoints,bybecomingdetachable,interchangeable,
andeventechnicallyalienatedfromanyconnectedmeaning,lendthemselvestoends
externaltothework.Theeffect,thetrick,theisolatedrepeatabledevice,havealways
beenusedtoexhibitgoodsforadvertisingpurposes,andtodayeverymonstercloseupof
astarisanadvertisementforhername,andeveryhitsongaplugforitstune.Advertising

andthecultureindustrymergetechnicallyaswellaseconomically.Inbothcasesthe
samethingcanbeseenininnumerableplaces,andthemechanicalrepetitionofthesame
cultureproducthascometobethesameasthatofthepropagandaslogan.Inbothcases
theinsistentdemandforeffectivenessmakestechnologyintopsycho
Theodor Adorno and Max Horkneimer 22 The Culture Industry technology, into a
procedureformanipulatingmen.Inbothcasesthestandardsarethestrikingyetfamiliar,
theeasyyetcatchy,theskillfulyetsimple;theobjectistooverpowerthecustomer,who
isconceivedasabsentmindedorresistant.
Bythelanguagehespeaks,hemakeshisowncontributiontocultureaspublicity.The
morecompletelylanguageislostintheannouncement,themorewordsaredebasedas
substantialvehiclesofmeaningandbecomesignsdevoidofquality;themorepurelyand
transparentlywordscommunicatewhatisintended,themoreimpenetrabletheybecome.
The demythologization of language, taken as an element of the whole process of
enlightenment, is a relapse into magic. Word and essential content were distinct yet
inseparable from one another. Concepts like melancholy and history, even life, were
recognized in the word, which separated them out and preserved them. Its form
simultaneouslyconstitutedandreectedthem.Theabsoluteseparation,whichmakesthe
movingaccidentalanditsrelationtotheobjectarbitrary,putsanendtothesuperstitious
fusionofwordandthing.Anythinginadeterminedliteralsequencewhichgoesbeyond
thecorrelationtotheeventisrejectedasunclearandasverbalmetaphysics.Buttheresult
isthattheword,whichcannowbeonlyasignwithoutanymeaning,becomessoxedto
thethingthatitisjustapetriedformula.Thisaffectslanguageandobjectalike.Instead
ofmakingtheobjectexperiential,thepuriedwordtreatsitasanabstractinstance,and
everythingelse(nowexcludedbythedemandforruthlessclarityfromexpressionitself
nowbanished)fadesawayinreality.Alefthalfatfootball,ablackshirt,amemberofthe
HitlerYouth,andsoon,arenomorethannames.Ifbeforeitsrationalizationtheword
hadgivenrisetoliesaswellastolonging,now,afteritsrationalization,itisastraitjacket
forlongingmoreeventhanforlies.Theblindnessanddumbnessofthedatatowhich
positivism reduces the world pass over into language itself, which restricts itself to
recording those data. Terms themselves become impenetrable; they obtain a striking
force,apowerofadhesionandrepulsionwhichmakesthemliketheirextremeopposite,
incantations.Theycometobeakindoftrick,becausethenameoftheprimadonnais
cookedupinthestudioonastatisticalbasis,orbecauseawelfarestateisanathematized
byusingtabootermssuchasbureaucratsorintellectuals,orbecausebasepractice
usesthenameofthecountryasacharm.Ingeneral,thenametowhichmagicmost
easily attachesis undergoing a chemical change: a metamorphosis into capricious,
manipulabledesignations,whoseeffectisadmittedlynowcalculable,butwhichforthat
veryreasonisjustasdespoticasthatofthearchaicname.Firstnames,thosearchaic
remnants,havebeenbroughtuptodateeitherbystylizationasadvertisingtrademarks
(lm stars surnames have become rst names), or by collective standardization. In
comparison, the bourgeois family name which, instead of being a trademark, once
individualizeditsbearerbyrelatinghimtohisownpasthistory,seemsantiquated.It
arousesastrangeembarrassmentinAmericans.Inordertohidetheawkwarddistance

betweenindividuals,theycalloneanotherBobandHarry,asinterchangeableteam
members.Thispracticereducesrelationsbetweenhumanbeingstothegoodfellowship
of the sporting community and is a defense against the true kind of relationship.
Signication, which is the only function of a word admitted by semantics, reaches
perfection inthe sign.Whether folksongs were rightly orwrongly called upperclass
cultureindecay,theirelementshaveonlyacquiredtheirpopularformthroughalongpro
cessofrepeatedtransmission.Thespreadofpopularsongs,ontheotherhand,takesplace
atlightningspeed.TheAmericanexpressionfad,usedforfashionswhichappearlike
epidemicsthatis,inamedbyhighlyconcentratedeconomicforcesdesignatedthis
phenomenon long before totalitarian advertising bosses enforced the general lines of
culture. When the German Fascists decide one day to launch a wordsay,
intolerableover the loudspeakers the next day the whole nation is saying
intolerable.Bythesamepattern,thenationsagainstwhomtheweightoftheGerman
blitzkriegwasthrowntookthewordintotheirownjargon.Thegeneralrepetitionof
namesformeasurestobetakenbytheauthoritiesmakesthem,sotospeak,familiar,just
asthebrandnameoneverybodyslipsincreasedsalesintheeraofthefreemarket.The
blindandrapidlyspreadingrepetitionofwordswithspecialdesignationslinksTheodor
AdornoandMaxHorkneimer23 TheCultureIndustry advertisingwiththetotalitarian
watchword.Thelayerofexperiencewhichcreatedthewordsfortheirspeakershasbeen
removed;inthisswiftappropriationlanguageacquiresthecoldnesswhichuntilnowit
hadonlyonbillboardsandintheadvertisementcolumnsofnewspapers.Innumerable
peopleusewordsandexpressionswhichtheyhaveeitherceasedtounderstandoremploy
onlybecausetheytriggeroffconditionedreexes;inthissense,wordsaretrademarks
which are nally all the more rmly linked to the things they denote, the less their
linguisticsenseisgrasped.Theministerformasseducationtalksincomprehendinglyof
dynamicforces,andthehitsongsunceasinglycelebratereverieandrhapsody,yet
basetheirpopularitypreciselyonthemagicoftheunintelligibleascreatingthethrillofa
moreexaltedlife.Otherstereotypes,suchasmemory,arestillpartlycomprehended,but
escapefromtheexperiencewhichmightallowthemcontent.Theyappearlikeenclaves
inthespokenlanguage.OntheradioofFleschandHitlertheymayberecognizedfrom
theaffectedpronunciationoftheannouncerwhenhesaystothenation,Goodnight,
everybody!orThis is theHitlerYouth,and evenintones the Fuhrer inaway
imitatedbymillions.Insuchclichesthelastbondbetweensedimentaryexperienceand
language is severed which still had a reconciling effect in dialect in the nineteenth
century.Butintheproseofthejournalistwhoseadaptableattitudeledtohisappointment
asanallGermaneditor,theGermanwordsbecomepetried,alienterms.Everyword
showshowfarithasbeendebasedbytheFascistpseudofolkcommunity.Bynow,of
course,thiskindoflanguageisalreadyuniversal,totalitarian.Alltheviolencedoneto
wordsissovilethatonecanhardlybeartohearthemanylonger.Theannouncerdoesnot
needtospeakpompously;hewouldindeedbeimpossibleifhisinectionweredifferent
fromthatofhisparticularaudience.But,asagainstthat,thelanguageandgesturesofthe
audience and spectators are colored more strongly than ever before by the culture
industry,eveninnenuanceswhichcannotyetbeexplainedexperimentally.Todaythe
culture industry has taken over the civilizing inheritance of the entrepreneurial and

frontierdemocracywhoseappreciationofintellectualdeviationswasneververynely
attuned.Allarefreetodanceandenjoythemselves,justastheyhavebeenfree,sincethe
historicalneutralizationofreligion,tojoinanyoftheinnumerablesects.Butfreedomto
choose an ideologysince ideology always reects economic coercioneverywhere
provestobefreedomtochoosewhatisalwaysthesame.Thewayinwhichagirlaccepts
andkeepstheobligatorydate,theinectiononthetelephoneorinthemostintimate
situation,thechoiceofwordsinconversation,andthewholeinnerlifeasclassiedbythe
now somewhat devalued depth psychology, bear witness to mans attempt to make
himselfaprocientapparatus,similar(eveninemotions)tothemodelservedupbythe
cultureindustry.Themostintimatereactionsofhumanbeingshavebeensothoroughly
reiedthattheideaofanythingspecictothemselvesnowpersistsonlyasanutterly
abstractnotion:personalityscarcelysigniesanythingmorethanshiningwhiteteethand
freedomfrombodyodorandemotions.Thetriumphofadvertisinginthecultureindustry
is that consumers feel compelled to buy and use its products even though they see
throughthem.

TheodorAdornoandMaxHorkneimer24TheCultureIndustry