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■ ■ ■ Mass culture and mass information within the space of modern media
Felix I. Sharkov1, Vladimir A. Potapchuk2
1. Russian Presidential Academy of National Economy and Public Administration (RANEPA), Moscow, Russia.
2. AGG Holding Company, Moscow, Russia.
Abstract. The rapid development of modern media, digital technologies and the Global Internet, the pervasive impact of the press, films, radio and television, the industrial-commercial type of production and distribution of standardized spiritual goods are decisive factors in the spread of mass culture. Active participants and creators of mass information flows are the media. Mass information is actualized in information flows due to its availability to the masses, form simplicity, convenient consumption and transparency. Modern media are the determining factor in the formation of mass culture and it can be safely assumed that their sociocultural role will only increase as humanity moves towards the information network society. The maximally individualized options of mass culture will provide people not only with a new "modern times model", but also with reference standards of information perception.
Keywords: modern media, mass culture, mass information, mass consumption, information society, media space, communication, "seriality", mass literature, soundtrack, community, social networks, video blogs, "yellow" press
For citation: Sharkov F. I., Potapchuk V. A. Mass culture and mass information within the space of modern media. Communicology(Russia). 2018. Vol. 6. No.3. P. 153-163. DOI 10.21453 / 2311-3065-2018-6-3-153-163.
Inf. about the authors: Felix Izosimovich Sharkov, Dr. Sc. (Soc.), Professor, honored scientist of the Russian Federation, head of the Department of public relations and media policy of the Institute of public service and management, RANEPA; Vladimir Adamovich Potapchuk, Cand. Sc. (Philos.), ass. professor, head of the Department of Educational Projects AGG, Vice-President, Address: 123112, Moscow, Presnenskaya embankment, 12. Business center "Moscow city". E-mail: [email protected].
Received: 17.04.2018. Accepted: 10.06. 2018.
Speaking about a decisive factor of spreading mass culture in the modern information society, we mean such processes and phenomena as the intense development of modern media, digital technologies and the Global Internet, the pervasive impact of the press (newspapers, glossy magazines), cinema, radio and television, as well as the industrial-commercial production and distribution of standardized spiritual goods. «The masses live primarily in the interests of the economy, and this affects fatally the entire culture, which is made an unnecessary luxury» [Berdyaev]. The word "media" is originated from the Latin noun "medium" denoting "a means or an intermediary". Media represent a substance through which any information impact is transmitted.
Modern media include means of communication, ways of delivering information and the media environment that they form. In our study the media are regarded as a universal phenomenon, represented by the whole set of technological means and communication techniques which serve to deliver information messages to consumers in one form or another: text, music, image, etc. The term "media" may be used separately or in word combinations, such as "media text", "mass media", "media space", "new media", "alternative media", "social media", etc., which generate their own spheres of influence and communication features
Besides, there is an increase in education level along with paradoxical decrease in spiritual pretentions.
Mass culture and mass information
Mass culture and mass information are interrelated phenomena. Mass culture is characterized by the production of cultural values designed for mass consumption and averaged mass taste, standardized in form and content, involving commercial success and disseminated by the media [Shapinskaja].
It is known that "any theory assumes a peculiar, logically interconnected system of concepts that describes the essential, natural and necessary internal connections within a particular subject area. This knowledge is built into the system, since any object is a system of interconnected and interacting elements, where the sum of the properties composing the elements is not equal to the system's properties. The whole is represented by properties which ensure its connection with the world" [Shapinskaja]. The media have transformed into a system whose activities are provided by a complex infrastructure: informational, technical, technological, organizational, etc.
The media are active participants and creators of mass information flows [Buzin, Potapchuk]. Mass information is actualized in information flows only under the following conditions: its availability for the masses, simplicity of form, convenient consumption regime, low cost, transparency for all visitors, stability, persistent and regular functioning. Mass information is the determining factor in the formation of the modern mass culture. Its sociocultural role will only increase as humanity moves toward the information network society, in which the most individualized varieties of this information will provide the subject of virtual culture with the "integral model of the present" (seen as "the foundation of world awareness" and the sample for perceiving all other data).
One of the most interesting and productive approaches to mass culture regards it as a kind of organization of everyday consciousness in the information society, a special sign system or a special language due to which information society members reach mutual understanding. According to this approach, mass culture acts as a link between the highly-specialized postindustrial society and the person who is integrated into it only as a "partial" person. Communication between "partial" people, narrow specialists, is carried out at the level of a "mass person", i.e. in the averaged, generally understandable language used by mass culture.
Levels of mass culture
Mass culture penetrates almost all social spheres and forms its own semiotic space. Therefore, it is obvious that mass culture is not a homogeneous phenomenon. It has its own structure and levels. Modern researchers single out three main levels of mass culture:
a) kitsch culture;
b) mid-culture;
c) art culture (mass culture, which is not devoid of certain artistic content and aesthetic expression).
Let's analyze each of these levels.
Kitsch culture is mass culture in its most subtle form. The very word "kitsch" originates from the German verbs "kitschen" (to do trash, to create low-quality works) and "verkitschen" (to sell out for a low price, to bargain away). The first manifestations of kitsch were widely spread only in applied art, but then it began to have significant influence on all kinds of art, including cinema and television. At the same time, experts note that in each country it is possible to define the specific national features of kitsch: the "sugary platitude" of the German kitsch, the "frank scrupulousness" of the French one, the ecstatic sentimentality of the Italian one, and the flat primitiveness of the American one [Fetisova]. As a rule, kitsch works try to mimicry for real art, but they never become it. The main characteristics of kitsch culture include:
- simplified presentation of problems;
- support for stereotyped images, ideas and subjects;
- focus on the philistine, whose life is boring and monotonous.
Kitsch is unambiguous: it does not ask questions, only contains cliché answers not leading to spiritual search and complex psychological discomfort. Kitsch culture has played a special role within the formation of "tabloid press" genre, along with film and video industry. Kitsch as a mass culture element is the point of maximum deviation from basic values and one of the most aggressive manifestations of art primitivization tendencies [Fetisova]. Nowadays kitsch culture is predominant in industrialized countries.
As for mid-culture, it is crucial to note its dual character: features of traditional and mass culture. Mid-culture is higher than kitsch and is a "beacon" for mass culture as a whole.
The highest level of mass culture is art culture, designed for the most educated and demanding segment of the audience. Its main purpose is to minimize the gap between the norms and standards of mass culture and traditional culture [Yakushina].
In addition to the above-mentioned levels, some experts consider it necessary to single out two specific sublevels of mass culture, namely pop culture and rock culture. Pop culture may be defined as something that an ordinary person can adequately perceive without special training, a subject intended for mass learning. In another interpretation, pop culture is a complex of neoavant-garde views on art, characterized by:
a) superficial and nihilistic attitude to classical art and the world cultural heritage;
b) negation of the artistic and aesthetic experience accumulated by previous generations.
Rock culture is a phenomenon that is correlated in many ways with the new folklore. Its study largely explains the genesis of cultural innovations, the complex and contradictory socio-cultural processes involving the last third of the XX and beginning of the XXI century [Ilicheva].
Mass culture as a sociocultural phenomenon
Analyzing mass culture as a special socio-cultural phenomenon, it is necessary to enumerate its most characteristic features:
a) focus on a homogeneous audience;
b) reliance on the emotional, irrational, collective, unconscious;
c) escapism;
d) accessibility;
e) poor retention in memory;
f) traditionalism and conservatism;
g) operating with an average linguistic semiotic norm;
h) entertaining character [Ableev, Kuzminskaja].
An integral part of mass culture is mass literature [Potapchuk, Kozin]. Modern mass literature is not only published in huge numbers of copies, but also effectively distributed and promoted through the Internet: "The Lord of the Rings", "Harry Potter", etc. As for Russian books, a good example is "Marusya" by Polina Voloshina from the literary series "Ethnogenesis". Briefly reveal the essence of the project
«Ethnogenesis» - book series by different authors about a single world
«Ethnogenesis» is a unique literary project: a series of books by different authors about a single world. It all began with the fact that "a few years ago the famous publisher Konstantin Rykov came up with an unexpected idea: what if several good writers, each on their part, start to put together the pieces of a gigantic literary puzzle? Each author will tell an interesting story, which at first seems to have nothing to do with the others. One writes a series of books about pirates of the Caribbean Sea, another - about German subversives in besieged Leningrad, the third - about the near future, the fourth -about the distant one. Initially, it is nothing in common, except one circumstance: each book tells about people with some mysterious artifacts - metal animal figures that provide their owners with special power (unique for each figure). However, little by little, the project's lines will begin to intertwine. There will be common characters, riddles set in one book will be solved in another, and one day all these stories will make a mega-novel that will answer numerous riddles of the universe.
The project started in May 2009 with the book "Marusya" by Polina Voloshina, and it was one of the most successful literary debuts. It is enough to say that by now the story of "a girl who is a walking incident", living in 2020, has sold more than three hundred thousand copies worldwide. The publishing house has already launched 24
series of the project (9 of which are ready) with the action taking place in all corners of the Earth (and not only!) within several million years - from the deepest past to very distant future. The project involves best Russian speculative fiction writers, and the total number of sold books has exceeded one and a half million copies.
"Marusya", the first part of the science fantasy literary series "Ethnogenesis", became a bestseller in two weeks (one of the country's top ten best-selling books). The publishing house "Popular Literature", which publishes the series, explains the phenomenon "Marusya" not only by an asked-for plot, but also by competent Internet marketing.
The story of the 14-year-old Marusya Gumilyova, who lives in 2020 and has supernatural abilities, was released in 100 thousand copies and is designed primarily for 13-18-year-old readers. Instead of presentation and press conference, the publishers "staked" on creating the site "Marusya.Ru" and advertising in social networks.
Within 10 days of the project's existence, the site was visited by more than 1 million 350 000 people from all over the world. A new Internet technology, Russian know-how "Poplita", was used, because until that moment publishers had never promoted their books through the Web. Arseniy Mariengof, the editor-in-chief of the "Popular Literature", is sure that "the Internet as a reporting tool is perfect". In contrast to traditional advertising, which works only for brand recognition, theme sites provide an opportunity to know the product itself. As for "Marusya.Ru", new episodes of the series and new parts of related audio performances are published there every week. The first chapter of the audio book was listened by 400000 people, which proves the effectiveness of the chosen method.
Marusya instead Harry Potter?
According to the statistics, "Marusya" came into notice not only in Russia, but also in Ukraine (172000 visitors), Germany (51000), Moldova (42000), Georgia (41000), Israel (18000) and the United States (15000). There were as few as nine countries whose residents had not visited the project's site.
Promoting the book contributes to the overall development of Internet culture. Some years ago network purchasing aroused fears and was the exception rather than the rule. Today the situation is changing, as evidenced by thousands of sales in electronic bookstores such as Ozon.ru, where "Marusya" held the first place in sales for more than a week. It left behind Sergei Lukyanenko and Boris Akunin and gave way to another edition of "Popular Literature" - "Ancient: War" by Sergei Tarmashev.
Besides, "Marusya" became one of ten best-selling literary works in traditional bookstores. It is the most successful softcover in "Biblio-Globus", the biggest Moscow bookstore [Kondratieva].
Marusya instead of Harry Potter? The project's authors sincerely hope that the popularity of new characters will soon be able to compete with "The Lord of the Rings" and "Harry Potter". At least, like Tolkien and Rowling, the authors of "Ethnogenesis" try to talk about complex things in an understandable language. Natalia Kochetkova, a columnist for a Russian weekly newspaper "Nedelya", comments on the methods.
"Konstantin Rykov, a member of the Russian State Duma and the owner of "Popular Literature", reveals the origins of the project: "I conceived the literary series "Ethnogenesis" in 2002. The series covers 200 million years. First there was an idea to write something like the World Bible, with three temporal layers: the past, the future and the present. Inside there are twelve different episodes: the stories from the past are reconstructions, those from the present are the interpretation of what is happening now, and those from the future is a futuristic attempt to "build time ahead". We met with different authors, explained the idea. Their reactions were different: some understood us at a word, as happened with Voloshin and Kulkov... There are more than fifteen authors in the project. The series will be released through the next 7 years and when it ends, the reader will receive an answer to the question "What do people exist for?"
"Marusya", the first book of the project, was written by a well-known designer Polina Voloshina. Several years ago she invented Russian anti-Barbies - hinged mooqla dolls ("mooqlas"). The dolls were used not only as beautiful expensive toys for adult girls. Polina wrote stories about them for her website (together with Russian poet and essayist Linor Goralik). All these dolls-girls are allegedly sent to a special boarding school by their extremely wealthy parents. At first glance it seems an ordinary boarding school for wealthy girls, but then it turns out that parents just get rid of children who they do not need for various reasons...
Working on "Marusya", Voloshina was telling a story about one of her mooqlas (in a sense, to some extent). In the first book the events unfold in 2020 on planet Earth. The main heroine is the girl named Marusya, the daughter of a well-known diplomat. Her mother disappeared when the girl was three years old. Marusya is a difficult child. She is an incredible idler, truant and is pretty like a doll. The kid took the wheel when she was three, and by the age of fourteen she managed to feel all the "delights" of panic attacks. One fine day (which was not so fine in fact) strange things started happening to her: from a sudden panic attack caused by a problem with her stop-adrenaline plaster to an unexpected lack of money on her account. Once she was even accused of killing a pharmacist, whom she was going to visit for a new plaster.
When Marusya's father, diplomat Andrei Gumilyov, came for her, a strange object was found among her personal belongings - a small metal lizard-salamander. It turned out that such items endowed their owners with wonderful abilities: to do without sleep, to see anyone and anything in any place of the globe, to read other people's thoughts. Then, as it is easy to guess, there is a struggle for these magic objects, which are scattered all over the world. Apart from giving miraculous power, they slowly kill their owners - everybody except Marusya, because in her blood there is a "different" (nonhuman!) gene. So she is also an artifact to a certain extent (here we may suspect a hint at the ethnogenesis theory by Lev Gumilyov... So Marusya's and her father's surname does not seem a coincidence)...
"Marusya" is expected to be followed by three other books: "Rome", giving an unconventional interpretation of Jesus Christ's story, "The Blockade", showing the mysterious power of Adolf Hitler and Joseph Stalin, and "The Billionaire", in which our contemporaries discover the reason of the world economic crisis.
However, in addition to the "layer cake" from historical and fictitious names and events (for example, Professor Bunin - a teacher at the summer school where Marusya has her practical training), the project has a very specific extra-literary task - to help Marusya's peers to stay interested in technical progress. "Inside the literary project, there are the ideas of other projects that we are planning to carry out," Konstantin Rykov said, "Now, working in the State Duma Science Committee, I am puzzled by the idea of how to bring interesting projects to people, which can also be done in the form of literary images. The book includes such projects: the communicator, the intelligent house, "Green City", "Artificial Sun". However, many projects presented in the future series are now considered as a kind of daydreaming ..."1.
Nevertheless, it should be noted that "Ethnogenesis" is not only books. Today it is also an exciting audio series with original soundtracks, multifunctional applications for iPhone, iPad and Android, huge communities in social networking services, a video blog, souvenir production ... and, of course, a million of fans supporting one of the most successful Russian literary projects2.
New features of mass literature: seriality, hypertext, online visual
"Seriality" (serial character) is a feature of modern mass literature related to the socio-psychological characteristics of its genres' existence. Each project is a complex which consists of different structural elements built into a certain sequence - a series of performative declarations that support, repeat, summarize or "exfoliate" one another, all of them feeding on mirror images. The series is not only a collection of duplicate copies-identities, but also a prevailing thread, a pivot for a content, which is diverse in its "constitutive" and "structural phenomenological" parameters.
It is important to note that the characteristic feature of the post-industrial period is the online production of not only printed but also visual products. Fiction becomes a part of the "transmedian" narrative: the printed text is screened, converted into the visual one. As for book series, they most often become TV series ("Kamenskaya" by A. Marinina, "A Mad One" by V. Dotsenko, "The March of Turetsky" by F. Neznansky, "Streets of Broken Lights" by A. Kivinov, "Dossier of Detective Dubrovsky" by L. Gursky, etc), while visual works turn into novels ("Poor Nastya", "Simply Maria", "Brigade", etc.). Both formats may be transformed into verbal-visual genres - comic books or computer games.
Mass literature allows its authors to abstract away from their text and use an "automatic" style of writing, which resulted in the Internet hypertext «Роман» ("Novel") that can be continued or corrected by any user. Readers are free to choose the options for developing the main plot and the supplementary story lines. Figuratively speaking, each person is a gardener involved in the process of cultivating a literary tree, which was, is and will be cultivated by other people. Critics believe that the prospects of this
1 Kochetkova N. «Marusya» instead of «Harry Potter?» [el. source]: http://www.inedelya. ru/books/article7864.
2 See: http://www.etnogenez.ru.
new phenomenon are so limitless that they can radically affect the entire situation in modern literature. Within the system of mass communications, a reader transforms into a participator, a co-author [Chernjak].
Compassion, pathos, humor, anxiety, curiosity in the «yellow press»
Along with the development of mass culture, the "yellow press" is developing. "Yellow Press" (or the tabloid press) is a colloquial term meaning commercial media, affordable and specializing in rumors, sensations (often imaginary), scandals and gossip. Coverage of scandals, crimes, violence begins to dominate the pages of "yellow" newspapers. Information proposed by such editions is not spiritual and practical knowledge, but an entertaining product. Ubiquitous hedonism turns "yellow" media into a supplier of infotainment (and its constituent - polytainment), which causes numerous deviations from the canons of truth, seriousness and responsibility in the world mass media. Infotainment is "pleasant information" or information pleasure, making the "yellow" editions especially popular.
New opportunities for increasing popularity are effectively used by various editions, such as The New York World, The San Francisco Examiner, The New York Journal, and others. The copies of these newspapers are successfully sold out not only due to prompt reporting of dramatic facts, but also because of creating so-called "human-interest stories" - newspaper materials that are more oriented toward the awakening of emotions (compassion, pathos, humor, anxiety, curiosity) than covering real events. There is a special kind of sensational reportage, the main method of which is shifting the attention focus from the fact itself to its presentation.
One of the traits characterizing the "yellow press" phenomenon is the shocking coverage of taboo subjects. No less important features are sensationalism and thematic eclecticism and the dominance of the visual component over the textual one. Journalists provide their articles with misleading headings of the following types:
1. Out-of-text headings, which are not related to a specific text of the material, but to an extra-textual situation (more interesting than the content itself).
2. Headings concentrated on a catchy detail or several details and thus not revealing the story's essence (contrary to headings published in quality newspapers).
3. Headings that directly distort the facts presented in the text, manipulate with them.
Depending on the type-forming characteristics and structural features, the editions
are classified into the following categories:
1. "Intermediate" editions, which are closer to high-quality newspapers, but have some basic features of the "yellow" press.
2. Gutter (pulp) editions, which basically contain all the features of the "yellow" editions. They are more banal in content than quality newspapers and are more "mercantile" than "intermediate" ones.
3. "Yellow" editions proper, which have all the main type-forming features that were mentioned above. These newspapers and magazines are marked by a pronounced hedonistic pathos, sensationalism and outright vulgarity.
4. Half-pornographic and pornographic editions, which are characterized by all the features of the previous types, with a bias towards covering deviant sexual relations.
In other words, the "yellow" press is the most popular phenomenon in the field of the print media, which creates and reflects people's illusions in the consumer society. "Yellow" journalism is a meta-discourse rooted in hedonistic myths that lead its readers away from reality and gradually destroy the intellect of non-educated members of society - children.
It should be noted that in the USSR, prior to perestroika, all printed editions were censored. An editor-in-chief could be dismissed for publishing incorrect information. When glasnost was announced (later known as freedom of speech), some publishing houses tried to sell their newspapers more effectively by filling them with rumor-based articles and using other methods of the "yellow" press.
The first representatives of the genre appeared in the 90s of the XX century: the tabloid "Express-gazeta" and the weekly magazine "Megapolis Express". Today typical "yellow" press is represented by a wider range of editions - newspapers "Tvoy den'" (formerly known as "Zhizn'"), "Komsomolskaya Pravda", etc. In 2009 the Public Board for Complaints against Press, which included well-known journalists Eduard Sagalayev, Nikolai Svanidze, Daniil Dondurei, Alexei Kara-Murza, Mikhail Nenashev and Georgy Satarov, decided that the newspaper "Izvestia" was also "yellow". In the experts' opinion, it had been a serious edition, but then transformed into a typical tabloid.
Summary
Mass information has the widest possible target audience. Therefore, this information should satisfy the society's need for facts and interpretations that would help it to understand some subjectively or objectively significant issues. We live in an era when the value of data, images and ideologies exceeds the value of material acquisitions and physical space. Gone are the days when a person's social status was measured by the distance he/she had to cover to see the smoke of a neighbor's campfire. In the end, we reached our limits; we saw the Earth from space. The faith in the boundlessness of the conquered territories is destroyed forever. Free spaces do not exist, there is nothing more to colonize. The only environment in which our civilization can still expand, our only real frontier is the air, the media. Today a person's power is determined not by the amount of property, but by how many news pages or prime-time minutes on television he/she may have. In this situation mass culture and mass information have no alternatives.
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■ ■ ■ Массовая культура и массовая информация в пространстве современных медиа
Шарков Ф.И.1, Потапчук В.А.2
1. Российская академия народного хозяйства и государственной службы при Президенте РФ (РАНХиГС), Москва, Российская Федерация.
2. AGG-холдинг, Москва, Российская Федерация.
Аннотация. Стремительное развитие современных медиа, цифровых технологий и Глобальной сети Интернет, всепроникающее воздействие прессы, кино, радио и телевидения, а также индустриально-коммерческий тип производства и распределения стандартизированных духовных благ, являются решающим фактором распространения массовой культуры. Медиа являются активными участниками и созидателями массовых информационных потоков. Массовая информация актуализируется в информационных потоках благодаря доступности ее для масс, простоте формы, удобного потребления, открытости. Современные медиа являются определяющим фактором в формировании массовой культуры и можно с уверенностью предположить, что социокультурная роль их будет только увеличиваться по мере продвижения человечества к информационному сетевому обществу, а ее максимально индивидуализированные варианты будут нести в массы не только «модель современности», но и эталонные образцы восприятия информации.
Ключевые слова: современные медиа, массовая культура, массовая информация, массовое потребление, информационное общество, медиапространство, коммуникация, серийность, массовая литература, саундтрек, комьюнити, социальные сети, видеоблоги, жёлтая пресса
Для цитирования: Шарков Ф.И., Потапчук В.А. Массовая культура и массовая информация в пространстве современных медиа // Коммуникология. 2018. Том № 6. №3. С. 153-163. DOI 10.21453/2311-3065-2017-6-3-153-163.
Сведения об авторах: Феликс Изосимович Шарков, доктор социологических наук, профессор, заслуженный деятель науки РФ, заведующий кафедрой общественных связей и медиаполитики, заместитель декана факультета журналистики Института государственной службы и управления РАНХиГС; Владимир Адамович Потапчук, кандидат философских наук, доцент, руководитель департамента образовательных проектов AGG-холдинга, вице-президент. Адрес: 119571, г Москва, Пресненская набережная, 12, деловой центр «Москва Сити». E-mail: [email protected].
Статья поступила в редакцию 17.04.2018. Принята к печати 10.06. 2018.
