Written Speech by Dr. Reza Gholami at the Iranian Wisdom House, Vienna – March 3, 2025
In this written lecture, I want to talk about something that affects all of us—our culture. We watch movies, listen to music, scroll through social media, and consume entertainment every day. But have you ever stopped to ask:
- Who controls culture?
- Is it truly free?
- Or is it just another product sold to us like everything else?
To answer these questions, we will look at a group of thinkers known as the Frankfurt School, who were among the first to seriously study how capitalism shapes culture. Their ideas remain highly relevant today, especially in a world where Hollywood blockbusters, TikTok trends, and streaming services dictate much of what we watch and listen to.
- What is the Frankfurt School, and how was it formed?
The Frankfurt School was a group of intellectuals and philosophers who came together in the 1920s in Germany. They were part of the Institute for Social Research in Frankfurt and were deeply concerned about what was happening in the world—especially the rise of fascism, capitalism, and mass media.
When Hitler came to power, many of them, including Theodor Adorno, Max Horkheimer, and Herbert Marcuse, fled to the United States. While in America, they noticed something interesting: mass media, especially Hollywood films, radio shows, and popular music, seemed to work in a way that kept people entertained but also passive. Almost every Hollywood movie followed a simple, predictable structure—a hero, a villain, a romantic subplot, and a happy ending. This was not an accident; it was a system designed to maximize profit and control how people think.
- What was the Frankfurt School’s main idea?
The Frankfurt School developed Critical Theory, which aimed to challenge power, ideology, and control. They believed that capitalism was not just about selling physical products like cars or clothes—it also sold ideas, lifestyles, and ways of thinking.
One of their most important ideas was the Culture Industry. They argued that modern culture is no longer about genuine creativity or artistic expression. Instead, it is a business—an industry like any other. Movies, music, and even news are produced not to make people think, but to entertain them just enough to keep them consuming.
This is why we see so many repetitive movie franchises today. Studios invest in superhero movies, remakes, and sequels rather than original films because they know audiences are already familiar with these stories and will pay to watch them again. The same thing happens in music—many pop songs follow a predictable structure, using similar beats and melodies, because the industry knows this formula works.
- What causes the commodification of culture?
The Frankfurt School argued that several factors contribute to this:
First, capitalism turns everything into a product. Art is no longer about personal or social expression; it must be something that can be sold. Take Disney, for example—what started as an animation studio has become a giant corporation that not only makes films but also sells toys, theme parks, and merchandise. Movies are designed with business in mind, not just storytelling.
Second, advertising and consumerism play a big role. Have you ever noticed how every major pop star today has a perfume, a clothing line, or a sponsorship deal? The music is just one part of the business; the real money is made in selling branded products.
Third, mass media and technology have changed the way we experience culture. Platforms like Netflix, YouTube, and TikTok are supposed to offer us endless choices, but in reality, their algorithms push us toward certain types of content. When you open Netflix, you might feel like you are choosing what to watch, but in reality, the platform is guiding you toward what it wants you to see—usually whatever is most profitable.
Finally, globalization has created a uniform culture. Wherever you go in the world, you’ll find the same fast-food chains, the same music, and the same Hollywood movies. Local cultures and traditional forms of entertainment struggle to survive because global corporations dominate cultural production.
- What are the consequences of the Culture Industry?
One major consequence is the loss of originality. Many independent filmmakers, musicians, and writers struggle to get their work noticed because the industry favors what is already popular and profitable. This is why we see so many formulaic action movies, predictable romantic comedies, and similar-sounding pop songs—businesses avoid taking risks.
At the same time, audiences become passive consumers rather than active participants in culture. Instead of questioning society or exploring new ideas, people are constantly entertained but rarely challenged. For example, reality TV shows are incredibly popular, but they rarely encourage deep thinking—they exist mainly to keep viewers engaged and ready to watch the next episode.
Perhaps the most concerning consequence is that culture is no longer something we create together—it is something we buy. Instead of gathering to tell stories, make music, or create art, most of us simply consume what is produced by large corporations.
- Was the Frankfurt School Too Pessimistic About Modernity?
While the Frankfurt School’s critique of the Culture Industry remains influential, some argue that they were too pessimistic about modernity, capitalism, and mass media. Did they exaggerate the negative effects of the modern world? Were they unfair in their portrayal of capitalism as a system that completely dominates culture and human thought?
One common criticism is that the Frankfurt School had a romanticized view of the past. They seemed to believe that culture was once “pure” and “authentic” but became corrupted by capitalism. However, history shows that art and culture have always been shaped by economic and political forces. Even in the Renaissance, artists depended on wealthy patrons. Shakespeare wrote plays to entertain audiences and make money.
Another argument is that capitalism has actually expanded access to culture rather than destroying it. In the past, only the elite had access to books, music, and education. Today, thanks to technology and globalization, more people than ever can experience art, music, and literature.
Some critics also suggest that the Frankfurt School saw capitalism as an all-controlling system, leaving little room for individual agency or resistance. If culture were entirely controlled by corporations, why would alternative music movements, underground cinema, or independent journalism still exist?
So, was the Frankfurt School too pessimistic? Or were they simply ahead of their time in recognizing how deeply capitalism would shape culture?
These are questions that require an examination of the context in which the Frankfurt School spoke to find their answers. In any case, while we may not say that capitalism has been systematic from the beginning, it has gradually and implicitly become systematic. This system, to sustain the existence of capitalism and expand it, continuously engages in ideation and operations as a process rather than a premeditated project.
- Did the Frankfurt School Advocate a Return to Tradition or a Postmodern Reform of Modernity?
A crucial question in understanding the Frankfurt School’s cultural critique is whether they suggested a return to tradition as a way to resist the Culture Industry or whether they envisioned a new, postmodern approach to reforming modernity.
Some critics argue that thinkers like Adorno and Horkheimer had a deep nostalgia for pre-modern forms of art and culture. They admired classical music, high literature, and complex philosophical traditions, believing that these forms of culture encouraged critical thinking and deep reflection. In contrast, they saw mass-produced entertainment—Hollywood films, pop music, and television—as simplistic and manipulative. This has led some to accuse them of elitism, suggesting that they dismissed popular culture entirely rather than looking for ways to improve it.
However, the Frankfurt School did not argue for a simple return to tradition. They understood that modernity could not be undone and that the pre-modern world had its own forms of hierarchy, oppression, and ideological control. Instead, they sought to find ways to liberate culture from both capitalist commodification and oppressive traditional structures.
Rather than rejecting modernity, thinkers like Marcuse were more interested in transforming it. His ideas, which later influenced the New Left and countercultural movements of the 1960s, suggested that modern society needed to be radically reimagined, not simply rejected. He believed that technology, art, and culture could be used for human emancipation if freed from the control of corporate and political power.
Some scholars argue that the Frankfurt School’s ideas align with postmodern critiques of modernity, which do not call for a return to the past but rather question the very foundations of how modernity has been structured. In this sense, their work is less about traditionalism and more about dismantling the rigid, hierarchical, and profit-driven aspects of modern society.
So, did the Frankfurt School promote a return to the past or a reinvention of the future? The answer is complex. They rejected both blind nostalgia and uncritical acceptance of modernity, instead pushing for a radical transformation of culture and society—one that preserves human creativity, critical thought, and genuine artistic expression.
- Can we escape the Culture Industry?
Completely escaping the influence of modern culture is nearly impossible, as we are constantly surrounded by media, entertainment, and consumer-driven narratives. However, the key is not total rejection, but rather developing critical awareness, free choice, and deep thinking when engaging with cultural products. Instead of passively absorbing whatever is presented to us, we can make intentional and thoughtful decisions about what we consume and create:
For instance: be aware of how culture is shaped – Ask yourself: Why is this movie, song, or trend popular? Who benefits from it? Is it designed to entertain, to sell something, or to shape public opinion? By questioning the forces behind cultural products, we can develop a more independent and discerning mindset rather than being unconsciously influenced.
also, cultivate free and rational choice – The Culture Industry often dictates our preferences through advertising, algorithms, and market trends. True freedom comes from actively choosing what to engage with, rather than simply following what is most visible or widely consumed. Seek out works that challenge you, that spark reflection, and that contribute to your intellectual and emotional growth rather than merely providing distraction.
In addition, engage in creativity yourself – Culture should not be a one-way flow where a few corporations produce, and the masses passively consume. Instead of just absorbing content, try expressing yourself—write, paint, make music, or create meaningful discussions. True culture flourishes when individuals think, question, and contribute, rather than simply adopting spre-packaged narratives.
meanwhile, avoid algorithm-driven passivity – Many digital platforms prioritize engagement and profit over quality and diversity, trapping users in filter bubbles where they are exposed only to what is most marketable. Take control of your cultural experience by deliberately seeking out perspectives outside mainstream recommendations. Choose depth over ease, and engage with works that require effort, analysis, and contemplation.
or prioritize depth and meaning – Much of modern cultural production is designed for instant gratification—short videos, viral trends, easily digestible content. While entertainment is not inherently bad, we should also make space for art, literature, and film that challenge us, demand reflection, and expand our understanding of the world. Instead of just seeking what is immediately enjoyable, look for what is intellectually and emotionally enriching.
Ultimately, escaping the Culture Industry is less about withdrawal and more about reclaiming our intellectual and artistic agency. By cultivating free, rational, and deep engagement with culture, we can resist being passive consumers and instead become thoughtful participants in the shaping of meaningful cultural expression.
- Conclusion
The Frankfurt School warned us that capitalism would turn culture into just another commodity. Decades later, their predictions have come true in many ways. From Hollywood blockbusters to social media trends, culture is often more about business than creativity.
But the question remains:
Is there still space for real art, real creativity, and real cultural expression in a world dominated by the Culture Industry?
The existence of philosophers like those of the Frankfurt School, who freely and impartially examine the fate of culture in this era and pose serious and fundamental questions and critiques about culture to the minds of elites and the public, is always essential.
Thank you.