The elegance ideologeme depends on its punk negation, which has shed its class content.

Evidence

What was more unexpected — but very “dialectical” indeed, in a virtually textbook way — was the emergence of this new form from a kind of cross, if not synthesis, between the two filmic modes we had until now been imagining as antithetical: namely, the high elegance of nostalgia films, on the one hand, and the grade-B simulations of iconoclastic punk film, on the other. … Meanwhile, any “dialectical” textbook of the type already referred to might have alerted us to the probability that an ideologeme of “elegance” depends in some measure on an opposite of some kind, an opposite and a negation which seems in our time to have shed its class content (still feebly alive when the “beats” were felt to entertain a twin opposition to bourgeois respectability and high modernist aestheticism), and to have gradually migrated into that new complex of meanings that bears the name punk. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 628

Categorization

• XREF: Connects to the reader’s stated key idea that aesthetic form is the economy’s way of appearing — this dialectic of elegance/punk is a concrete instance of stylistic antitheses encoding social meaning. — connects to: Thompson’s neutral conception of ideology sheds its class-based historical baggage. — Chris Allen, Islamophobia, 823; Ideological signs carry opposing class accents and become sites of struggle; Modern mass culture’s out-of-phase ideology creates a split between its overt and hidden messages — Theodor W. Adorno, The Culture Industry: Selected Essays…, 220 (+2 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Thompson’s neutral conception of ideology sheds its class-based historical baggage. — Chris Allen, Islamophobia, 823; Ideological signs carry opposing class accents and become sites of struggle; Modern mass culture’s out-of-phase ideology creates a split between its overt and hidden messages — Theodor W. Adorno, The Culture Industry: Selected Essays…, 220 (+2 more)

Broader Connections

• Ideological signs carry opposing class accents and become sites of struggle #complicates (0.78)