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05-Sep-2017 09:57

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At the other side of this culture of capitalism, vis-a-vis the production end, stands the consumption end: film audiences.

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Or to put it in Althusserian ideological terms, even high cultural subjects must necessarily participate with or interpellate the mass cultural or ideological contexts in which they exist.

In a chapter entitled "That Shakespearean Mob," from his book, Shakespeare Among the Moderns, Richard Halpern discusses mass culture as it relates to the com-modification of Shakespeare.

In the chapter Halpern, drawing from the insights of Jurgen Habermas, defines a "mass-cultural public" as a public that "passively consumes rather than critically debates its literature and art" (1997, 71).

Halpern points out the distinction that Habermas makes between a "mass-cultural public" and a "culture-debating public." (4) However, Halpern refines his definition of a mass cultural public in talking about "cynical reason." According to Halpern, a more accurate understanding of mass culture consists not in setting a mass-cultural public and a culture-debating public in opposition, but in realizing that the two overlap.

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(5)My use of the term, "mass culture" most closely follows Halpern's revised definition.

More specifically, Olivier's fame presented him with a unique opportunity to render a lasting impression of the way in which Richard III should be adapted on a smaller scale and how Richard should be played on a larger scale, an opportunity on which he capitalized.

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