By Agnes C. Mueller
Surrounding this undeniable phenomena, questions of the position and position of a "popular" German tradition proceed to set off heated debate. Embraced by means of a few as a welcome potential to damage out of the German monocultural way of thinking, American-shaped "pop" tradition is rejected by way of others as "polluting" demonstrated values, leveling worthy differentiation, and eventually being pushed via a capitalist buyer society instead of by means of ethical or aesthetic standards.
This collaborative quantity addresses a few interesting questions: What do Germans envisage after they converse of the "Americanization" in their literature and track? How do artists reply to modern-day media tradition? What does this suggest for the present political size of German-American kin? Can one converse meaningfully of an "Americanized" German tradition? In addressing those and different questions, this paintings fills a niche in current scholarship through investigating German pop culture from a multidisciplinary, foreign perspective.
Contributors to this volume:
Winfried Fluck, Gerd Gemünden, Lutz Koepnick, Barbara Kosta, Sara Lennox, Thomas Meinecke, Uta Poiger, Matthias Politycki, Thomas Saunders, Eckhard Schumacher, Marc Silberman, Frank Trommler, Sabine von Dirke
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Additional resources for German Pop Culture: How American Is It?
The link between modernity and Americanization is also emphasized in Mary Nolan’s Visions of Modernity: American Business and the Modernization of Germany (New York: Oxford University Press, 1994) and in the introduction to Transactions, Transgressions, Transformations: American Culture in Western Europe and Japan, ed. Heide Fehrenbach and Uta G. Poiger (New York: Berghahn Books, 2000) (see especially the section “American Culture, 32 German Pop Culture Nation-States, Modernity,” xviii–xxiv). However, in both cases the term “modernity” is restricted to the twentieth century.
Heide Fehrenbach and Uta G. Poiger (New York: Berghahn Books, 2000) (see especially the section “American Culture, 32 German Pop Culture Nation-States, Modernity,” xviii–xxiv). However, in both cases the term “modernity” is restricted to the twentieth century. 2. One of the most recent and most emphatic of these cultural critiques of Americanization is Benjamin Barber’s Jihad vs. McWorld: How Globalism and Tribalism Are Reshaping the World (New York: Ballantine, 1995). For earlier versions of the cultural imperialism thesis, see, for example, Herbert Schiller, Mass Communications and American Empire, 2d ed.
Zur Geschichte der amerikanischen Populärkultur,” in Die Amerikanisierung des Medienalltags, ed. Harald Wenzel (Frankfurt/Main: Campus, 1998), 13–52; and “Amerikanisierung und Modernisierung,” Transit 17 (1999): 55–71. 21. In his study Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge: Harvard University Press, 1988), Lawrence Levine has traced the emergence of the idea of highbrow culture in America. However, it is signi‹cant that his narrative stops before the arrival of American modernism with its dehierarchized, often vernacular, and racially hybrid forms.