Horkheimer and Adorno's text starts with an explanation of how capitalist systems harvest fellowship. They believe that culture is identical wherever such systems exist. The capitalist governments gradually integrate social beliefs into target groups using mass media and their techniques. The power of the government grows as consumers accept the new standards. The standards are accepted without question because they are presented as needs. The consumer believes he still possesses free will. In fact, this is only because they rationalize the messages transmitted to him or her by producers of culture, making them seem logical. They say that today's styles are no longer "new". They are prefabricated, no longer unique, no longer have to test themselves against their audiences. Therefore, there is no longer any style; we embrace a system of non-culture where every style converges. Any new style is forbidden, except for the few who know how to "confirm the validity of the system" by pointing out the style norms. The authors believe that, since liberalism is commonly known for its lack of categories, and that the culture industry, the most rigid of all styles, is its goal, we therefore shouldn't so easily categorise culture industry. Governments which are opposed to liberalism prefer to use techniques similar to those of marketing companies to sway the minds of their people. As soon as individuals live in ways not planned out by their governing body, they are treated as outcasts and aliens. This is an effective grouping strategy. Society turns to art in an attempt to escape the brainwashing of government. To counter this effect, governments mix what is considered high art with "light art". The effect of this juxtaposition is that consumers are no longer able to discern between actual art and what is propaganda. In a similar way, placing art which contains substance in a museum with free admission encourages consumers to disregard the latter. This is because the consumer is trained to believe that more expensive products have greater return. The culture industry is a structure, which systematically attempts to control masses by harnessing the power of media like an advertiser. Their effect is dissimulated as being part of cultural happenings. Anyone who refuses to conform is alienated and therefore encouraged to join the majority.
A famous song or a famous novel might be used for a film because it is already popular, because the producers know that the public will love it from the start. This is how producers create a cultural following for commodities. All products are generally created equal, yet it is possible to morph the masses' perception of such products. "Mad World" is a soothing, sad song used to promote a video game about war against machines called Gears of War (and, earlier, the film "Donnie Darko"). The song represents the grief that the character feels when his world shatters apart, but has no place in a "war" video game (though it does in the earlier film). It was used to target a certain crowd who would already have emotional ties with the song to make bigger profits off them. As the authors say, liberalism is ever present in the culture industry. For example, a TV show may be officially categorised as suspense, but there may as well be a large amount of tragedy as well, or paranormal content. Everyone may categorise that particular show a very different way. The few people who control the majority of the world's economy are a tightly knit group. Their influence is powerful. Governments are run as businesses which market their beliefs. All these parties collaborate to ensure their numerical objectives are attained. It is imperative for the consumer to act diligently. Artists must innovate to retain the little control the masses have left to regain free will.
Is it truly possible for individuals to choose whether they accept, reject or simply ignore the precisely controlled systems of marketing and government?
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