作为法兰克福学派的重要理论之一,文化工业理论揭示了资本主义社会中文化生产的工业化特征,批判了文化产品的标准化、同质化、商品化及伪个性化等现象。这些特征通过模式化的文化生产和重复性的消费体验,抑制了批判性思维的生成,压制了个体的自由和创意,使人们成为被动的消费者。在考察阿多诺理论的同时,应探讨阿多诺理论在当代社会的局限性:其悲观主义倾向忽略了文化产品中的复杂性和创造性空间以及消费者在文化消费中的能动性。尽管如此,阿多诺的文化工业理论仍为理解现代文化生产和消费机制提供了重要框架。在数字化和全球化背景下,应对该理论进行扩展,从而更全面地解释当代文化现象,并探索文化工业发展的本土化路径与现实意义。As a key theoretical contribution of the Frankfurt School, the culture industry theory exposes the industrialized nature of cultural production in capitalist societies. It critiques the standardization, homogenization, commodification, and pseudo-individualization of cultural products. These characteristics, through formulaic cultural production and repetitive consumption patterns, suppress the development of critical thinking, constrain individual freedom and creativity, and reduce individuals to passive consumers. While analyzing Adorno’s theory, it is essential to address its limitations in contemporary society. Adorno’s pessimistic perspective tends to overlook the complexity and creative potential within cultural products, as well as the agency of consumers in cultural consumption. Nevertheless, the culture industry theory remains a significant framework for understanding the mechanisms of modern cultural production and consumption. In the context of digitalization and globalization, the theory requires expansion to provide a more comprehensive explanation of contemporary cultural phenomena and to explore localized paths and practical implications f
