m to the present. The cultural homogeneity could be ensured this way, as no subversive material was ever able to enter such a closed system.Adorno's theory of homogeneity is that it is "film, radio, and magazines [that] make up a system which is uniform as a whole and in every part" (Storey, 105). As Adorno continues, he uses this definition of homogeneity in conjunction with predictability to define the culture industry. This industry, Adorno's peers argue, is what capitalists use to provide the masses with certain needs (needs best suited to the politicians) and hence denies the masses the forming of their own desires (Storey, 106). The control of media by capitalism therefore allows ideologies best suited for continued compliance to be disseminated through different mediums while simultaneously maintaining an appearance of heterogeneity. Work will always lead to culture and culture is designed to lead to work, or as Lambert Zuidervaart states:Adorno sees a twofold significance in [popular] musical fetishism and regression. First, they help advanced capitalism consolidate as a total system whose effects burrow ever more deeply into our psychic structure. Second, the solidified system and its psychic effects severely restrict the emancipatory potential of new cultural technologies as well as of oppositional groups within the system. (78)The Frankfurt school focused on the crippling effects that the culture industry had on real (or authentic) culture. They introduced more terms such as 'pseudo-individualism', 'hegemony', and 'affirmative culture'. Thus the Marxists designed their own terminology to debate the movements that were occurring in popular (or mass) culture. The primary binary opposition that postmodernism has with Marxism.Postmodernism is diametrically opposed to metanarratives. The use of metanarratives is always considered suspicious by postmodernists (Everett, 2/19). As postmodernism generally fails to follow ...
