Filmsâ officially intended moral messages diverge from the images viewers actually consume and retain
Evidence
If according to the analysis of âtelevision as ideologyâ film accommodates various layers of behavioural response patterns, this would imply that the ideology provided by the industry, its officially intended models, may by no means automatically correspond to those that affect the spectators. If empirical communications research were finally to look for problems which could lead to some results, this one would merit priority. Overlapping the official models are a number of unofficial ones which supply the attraction yet are intended to be neutralized by the former. In order to capture the consumers and provide them with substitute satisfaction, the unofficial, if you will, heterodox ideology must be depicted in a much broader and juicier fashion than suits the moral of the story; the tabloid newspapers furnish weekly examples of such excess. One would expect the publicâs libido, repressed by a variety of taboos, to respond all the more promptly since these behavioural patterns, by the very fact that they are allowed to pass, reflect an element of collective approval. While intention is always directed against the playboy, the dolce vita and wild parties, the opportunity to behold them seems to be relished more than the hasty verdict. â Theodor W. Adorno, The Culture Industry, 263
Categorization
- SEED: Angle: how didactic media (film, TV preachy shows) function by depicting the very sin they condemn â the tabloid dynamic as an engine of censorship backfire. Could trace through modern streaming âelevated horrorâ or true-crime.
- XREF: Connects to Shannon/Lasswell-style communications-research critiques and to the moral-panic literature where the condemned display is itself consumed avidly.
- QUESTION: Adorno just sketches this as a hypothesis his era couldnât test. Modern media-effects research and streaming analytics could now actually test whether juicy depictions outweigh moral frames in audience uptake.