Abstract

Adorno and Horkheimer critically develop the concept of the “culture industry” in the third chapter of Dialectic of Enlightenment. The treatment there has some right to be considered one of the core texts in Critical Theory's philosophy of art. This essay discusses the main claims and arguments of that work, as well as earlier essays in Adorno's music theory and later essays that turn to film aesthetics. Attention focuses on illuminating the basis for Adorno and Horkheimer's views on the culture industry in light of their social ontology and epistemology, their account of aesthetic form, and their conception of commodity as style.