Features of elite culture:

• complexity, specialization, creativity, innovation;
• the ability to form a consciousness ready for active transformative activity and creativity in accordance with the objective laws of reality;
• the ability to concentrate the spiritual, intellectual and artistic experience of generations;
• the presence of a limited range of values ​​recognized as true and "high";
• a rigid system of norms accepted by this stratum as obligatory and unswerving in the community of "initiates";
• individualization of norms, values, evaluation criteria of activity, often principles and forms of behavior of members of an elite community, thus becoming unique;
• the creation of a new, deliberately complicated cultural semantics that requires special training and an immense cultural outlook from the addressee;
• the use of a deliberately subjective, individually creative, "defamatory" interpretation of the ordinary and familiar, which brings the subject's cultural assimilation of reality closer to a mental (sometimes artistic) experiment on it and, in the extreme, replaces the reflection of reality in elite culture with its transformation, imitation with deformation, penetration into meaning - conjecture and rethinking of the given;
• semantic and functional "closeness", "narrowness", isolation from the whole national culture, which turns the elite culture into a semblance of secret, sacred, esoteric knowledge, and its carriers turn into a kind of "priests" of this knowledge, the chosen of the gods, "servants of the muses" , "Keepers of secrets and faith", which is often played out and poeticized in the elite culture.

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XX century to characterize the changed place of culture in modern society. The time of its appearance is the middle of the 20th century, when the mass media (radio, print, television) penetrated into most countries of the world and became available to representatives of all social strata. The extremely intensive development of the mass media and communications has led to the fact that not a single person, but a large number - a mass of people, began to be considered as the addressee of culture. Unlike elite culture, mass culture is oriented towards the average level of mass consumers.

The phenomenon of mass culture reflects the impact of the modern technogenic world on the formation of the human personality. It is unique as the art of manipulating elementary "subhuman" reactions and impulses ("drives") of the masses of people, using the most refined achievements of culture (technology and science). A system of tested techniques designed for the simplest unconditioned reactions is created, attraction, increased eventfulness, shock moments are used.

Popular culture is emphatically focused on entertainment, is quite cheerful, in many respects exploits such spheres of the human psyche as the subconscious and instincts.

Consider the impact of television on popular culture.

Television is a very young cultural phenomenon, which at its inception had to be built into the already existing "system of things" and into the corresponding system of representations. For comparison: when the first car was created (1895), its shape resembled the shape of a carriage and, we emphasize, could not be different: in the minds of the creators of the car, and all other people, the idea of ​​the carriage as the most comfortable means of transportation dominated. Let's call a carriage a model-prototype of a car in order to briefly describe the phenomenon itself. The entry of television into culture demonstrates the same approach and, very importantly, something completely new.

When radio emerged (A.S. Popov, 1895), the prototype was the sounding human speech, later - sounding music, that is, the phenomena related to the beginning of human culture. At the emergence of cinema (the Lumiere brothers, 1895, J. Méliès), its prototypes were the theater (the European tradition dates back to the ancient theater of the 5th century BC) and photography (the founders - the inventors L.J.M. Daguerre, 1839 , J. N. Niepce in France; W. G. F. Talbot, 1840-1841, in England), which, in turn, had painting as a prototype model (origin - about 40,000 BC. ). Due to photography, cinema has already approached the “television effect” that interests us.

At its inception, television did not rely on ancient prototype models; radio and cinema acted in their capacity, that is, the latest phenomena that have not yet been sufficiently mastered by humanity (additionally: a newspaper, an older model). Subsequently, the same effect was repeated with the emergence of a computer culture (in particular, the Internet), where television should be mentioned first of all among the prototype models. Behind the newest models, ancient and even new models are seen only historically, outside of actual awareness, and this is something new that was formed in culture with the advent of television.

It is the renewal of prototype models that is taking place in the culture of the twentieth century that can explain why the essence of television remains insufficiently revealed.

The newest models themselves have not yet been fully mastered, which leads to the desire to rely on a more solid foundation (that is, more familiar).

Hence the concept of television as a new art form. There was an extensive discussion on this score. From the stated point of view, its hidden meaning is in drawing an analogy between television (new in culture) with art (old, mastered, understandable in culture) or in criticizing this analogy.

A large amount of evidence can be cited confirming that television is a special form of art (or more broadly, artistic culture).

Then, having accepted the general thesis, it is necessary to take the next step - to compare television with various types of art (artistic culture). No matter how the specificity of the artistic possibilities of television is revealed, its tendency to be secondary and its orientation towards a multi-million audience, that is, features of mass artistic culture, will inevitably come to the fore. This, as it seems, led to the traditional idea of ​​television as a form of mass culture (which served as an explanatory model for television). The concept of "mass culture" is painted in negative tones, hence the quite logical transfer of this emotional tone to the conceptual interpretation of television.

Meanwhile, television, with all its external similarity with mass artistic culture, plays a different role, obviously so new that it defies an elementary definition through analogy and requires special research.

A unique property of television as a communicative subsystem of culture is the transmission of images over a distance. It fulfilled the long-standing dream of mankind about a kind of "all-seeing", about the opportunity to look beyond the horizon of the visible living space. Thanks to this, television spread so quickly and widely, it turned out to be so in demand by people.

“Television messages - especially now, with the presence of communication satellites - come from all over the world, which means that the great gift of television is that through it the whole world has gained visibility. And since TV does not “take away” the viewer from his everyday environment, on the contrary, it strives to go there, together with television, the whole world bursts into the home of an individual ... In the era of television, not a person travels around the world, but images from all over the world - from all countries and continents - they rush to the viewer and, having lost their materiality, swarm around him - as if to submissively get into his “aggregate social experience” and “model of the world,” wrote the famous television researcher V. I. Mikhalkovich.

Television expands the boundaries of the real world available for human vision and comprehension, complements and complements the socio-cultural space available to the individual, that is, it contributes to the formation of an individual image of reality. This means that the requests of a particular person for television as a source of information about the surrounding reality are, in general, the same as for reality itself.

French sociologist Pierre Bourdieu makes a very accurate observation: “For some of our philosophers (and writers),“ being ”means being shown on TV, that is, in the end, being noticed by journalists or, as they say, being in good standing with journalists (which is impossible without compromise and self-compromise). And indeed, since they cannot rely only on their works to continue to exist for the public, they have no other choice but to appear on the screen as often as possible, and therefore write at regular and as short intervals of time as possible. whose function, according to Gilles Deleuze, is to provide their authors with an invitation to television. "

A person, constantly navigating the world of changing social conditions, can present a wide variety of requirements for television content. Life orientation is one of the most important functions of television in relation to the viewer, along with recreational and compensatory. For example, a person does not understand the sphere of self-realization. He lacks human communication. He needs some kind of life alternative if the immediately available social reality is not valuable and desirable enough. In search of responses to these requests, a person also turns to TV.

Television programs, in turn, reflecting this or that part of social reality, organizing it, carry certain meanings of this reality, which can influence a person, acting as sources of value alternatives of socio-cultural reference points in relations with the world. Therefore, special attention should be paid to such a feature of television programs as the formation of these alternatives for the viewer, and their specific content should be considered in the context of the three defining processes of human life: activity, behavior and communication. Perceiving certain meanings of TV programs, forming new socio-cultural landmarks on their basis, a person can form a personal value attitude towards them, and these new landmarks can, according to B.M. Sapunova, "to determine his life attitudes and behavior." ...

The role of television is multifunctional. However, in the plurality of specific functions, two fundamental functions stand out, which allows us to speak of the bipolar functionality of television. The first function is informational. The second function is leisure.

The information function is the basic feature of television as a cultural phenomenon. To clarify this point, let us compare the showing of a feature film in a cinema and on television.

In a cinema, no matter how poorly equipped it is, we meet with the work of art itself, this is the form of its existence.

On the contrary, a film shown on television, even to the most perfect, is only information about a work of art (just like Leonardo da Vinci's La Gioconda, which we see in an illustrated magazine or book, is only information about a picture in Louvre).

In a narrower and more familiar sense, information on television acts as a collection of information about events and news.

At a new stage in the development of television broadcasting (in our country since perestroika, in the West - much earlier), the information function of television has fundamentally changed in content (and, as a consequence, in form), because the very idea of ​​television information has changed.

The domestic viewer, brought up on the programs of information and educational (with a pronounced ideological orientation) Soviet television, was amazed by the appearance of commercial advertising on television. At first inept, imitating Western standards, then more and more quality, even talented, she persistently interfered with the broadcasting network.

Information advertising permeates the entire field of television broadcasting. It is both open (commercials) and hidden (mentions of advertising objects in the speech of presenters and participants in broadcasts, clothes, hairstyles, other entourage of characters authoritative for the audience, what they hold in their hands, what they touch, what look, what they listen, what surrounds them, etc.). Information about events, turning into information-advertising, changes its structure.

So, the sequence of news programs of the Soviet period (official block - the country's working life - foreign news block - cultural news - sports - weather) is replaced by another sequence: the most sensational news (disaster, murder, etc.) - less sensational news (among which there is, for example, the official block). If a major scientific discovery is made, this is the material of the end of the issue, but if the scientist received the Nobel Prize, then the beginning.

In Soviet times, a certain percentage of negative news in the news program was established: no more than 40%.

Analysis of modern news shows that negative news prevails even on official channels. On some of them (for example, on "RenTV" with Romanova) their number reaches 90% and sometimes even more.

News is interrupted by advertisements. A stable tandem emerges: the real news of the day is terrible (contract killings, corruption, wars, terrorism), catastrophic (hurricanes, tsunamis, mass epidemics), terrible for the common man (fires, leaks, failures in the operation of power systems, water supply systems, sewerage systems, poor living conditions , low salaries, bribes of lower-level officials, unfair trial, deprivation of benefits, higher prices for food, gasoline, increased housing costs, negligence in schools and hospitals, fraud, hooliganism, drunkenness, poverty), while in the commercials the viewer is presented with the ideal, a happy life (wonderful things - from tights to refrigerators, all detergents, medicines for any diseases according to the latest scientific developments, almost free loans for almost any amount, allowing you to dance even on critical days panty liners, adding volume to your hair, shampoos and mascaras that save caries toothpastes and chewing gums, luxury cars and latest models of computers, grips films, grandiose concerts, political parties guarding the interests of the people).

These two blocks are constantly interspersed, together awakening the polar emotions of the audience, through which television culture has, in essence, a suggestive influence on the consciousness and subconsciousness of millions.

Sensationalism as a principle of presenting information on modern television turns out to be a connecting bridge in the bipolarity of the main functions of television - information and leisure.

Television, reflecting new realities, has developed its new forms that implement the leisure function. In the spectrum of these television forms proper, two TV genres appeared, which ended up at different poles: a video clip (in the brevity of which the option of minimizing leisure was reflected) and a television series (in the duration of which, reaching several thousand episodes, the option of maximizing leisure was reflected). Between these poles, an intermediate place was taken by a talk show, which combined information and leisure as television functions, but not through sensationalism, but through the illusion of interactivity.

All types of creativity have special features. Let's list the main features of mass culture:

• accessibility for all people

The works of mass culture are accessible and understandable for most people, they are created for relaxation and enjoyment.

Mass culture appeared during the period of rapid development of technology, the transition to the widespread distribution of factory production - industrialization. Then a person began to need a simple, pleasant form of leisure after a working day. It was during this period that simple, entertaining books, films and music appeared.

• consumer interest

The works of mass culture attract viewers with understandable plots that tell about the emotions and feelings close to them, forcing them to empathize with the heroes. The action usually takes place quickly, and the audience will have a happy ending.

• the presence of whole series, large circulation

Mass culture works are produced in large numbers: books, CDs with films and music. Also, the repetition applies to the plots themselves, which, as a rule, do not differ in variety, but only the details change.

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• passivity of perception

Popular culture does not require large moral costs or special labor from the consumer. It facilitates perception due to the ease of plots, vivid images. For example, when watching a movie, you do not need to imagine, conjecture the plot, imagine the characters, as when reading a book.

• commercial purposes

The peculiarity of mass culture is that the works in it are created by professionals who want to sell them and benefit from it. In order for the goods to be bought by as many people as possible, they are guided by things that are simple and understandable for most.

Some people are supporters of the point of view of the primitiveness of mass culture. But one cannot unequivocally assess it as bad. Thanks to her, many wonderful artists and works were born, for example, M. Mitchell's novel "Gone with the Wind".

Mass media

An important role in the dissemination of mass culture is played by special channels through which works find their consumers, regularly broadcasting them. The media include television, radio, newspapers, magazines. Now the Internet has gained the greatest popularity.

What have we learned?

After studying the topic of social studies, we learned that mass culture is a type of human activity aimed at creating goods that are in great demand in society. These can be films and books, music and paintings. Their main difference from other types of art is that they are created by professionals for the purpose of selling and have simple and understandable plots, reflecting emotions and feelings that are close to people.

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