As my film, media, and digital marketing studies come to an end, I find myself increasingly fascinated by the intricate relationship between popular culture, media consumption, and the construction of cultural memory. John Fiske's seminal work, "Understanding Popular Culture," has been particularly enlightening, challenging my preconceived notions about the nature of popularity and the role of consumers in shaping cultural narratives. Fiske's assertion that popular culture is not merely a top-down imposition by mass media conglomerates, but rather a dynamic process of meaning-making by consumers, resonates strongly with my own media engagement practices.
Popular media, in this context, refers to the widely consumed forms of entertainment and information that resonate with a large audience. This includes television shows, movies, music, social media content, and other forms of mass-produced media. However, what makes it truly "popular" isn't just its widespread distribution, but how people interact with it, derive meaning from it, and incorporate it into their daily lives. The question of whether popular media has value is a complex one. From an academic perspective, I've learned to appreciate its significance as a reflection of societal trends, a shaper of cultural conversations, and a site of negotiation between dominant ideologies and individual interpretations. While there's often a perceived distinction between "popular" media and media of "significance" (often associated with high culture or critically acclaimed works), I've come to see this as an oversimplification. Popular media can be both entertaining and culturally significant, offering insights into social norms, political climates, and collective anxieties of its time.
As a self-proclaimed television enthusiast since the age of twelve to a screenwriter graduating with a film degree at the age of 24, with a penchant for series from the late '90s and early 2000s, I find myself at the intersection of nostalgia, critical analysis, and active cultural participation. My viewing habits, which have intensified during the pandemic, primarily revolve around shows like "Friends," “Sex and the City,” "The Vampire Diaries," and "Dawsons Creek." Initially, I perceived this as mere comfort viewing or a nostalgic escape. However, through the theoretical framework of FMS 340, I've come to recognize it as a complex interaction with media texts that exemplifies Fiske's concepts of pleasure and meaning production in popular culture.
Debra Ramsey's introduction to "American Media and the Memory of World War II" has further enriched my understanding of how media functions as a form of cultural memory. While Ramsey focuses on the representation and reinterpretation of WWII in American media, her insights are applicable to my engagement with turn-of-the-millennium television series. These shows, once at the forefront of popular culture, now serve as cultural artifacts that offer valuable insights into the societal norms, political climate, and cultural attitudes of their era. For instance, a critical viewing of "Friends" through a contemporary lens reveals problematic elements such as the lack of diversity, occasional gender stereotyping, and dated portrayals of LGBTQ+ issues. Ramsey's discussion of how media representations evolve and are reinterpreted over time, reflecting changing societal values and perspectives, aligns with this similar approach.
The concept of media as cultural memory raises intriguing questions about the status of these shows within the current landscape of popular culture. While they may not dominate current viewership metrics, their persistent presence in cultural discourse – through memes, references in contemporary media, and streaming platform offerings – suggests a transcendence of traditional notions of popularity. Perhaps we're witnessing the emergence of a "classic popular culture" category, where these shows occupy a unique space between contemporary trends and historical artifacts. Do I consider what I consume to be part of popular culture? Absolutely, but with a caveat. These shows were undoubtedly part of mainstream popular culture when they first aired. Now, they occupy a unique space that we might call "classic popular culture." They're no longer at the forefront of current trends, but they remain culturally relevant, often referenced in contem
As I approach the culmination of my undergraduate studies, I'm increasingly aware of how my personal media consumption habits intersect with broader academic discourses on popular culture, media memory, and the evolution of cultural narratives. The theoretical frameworks I've explored over the last five years have transformed my streaming platforms from acquiring a simple list of entertainment options into a rich field for critical analysis and cultural exploration. My love for this industry and my academic journey have heightened my awareness of the complex interplay between media producers, consumers, and the ever-changing social contexts in which we view and interpret cultural products. It's fascinating to consider how my generation's engagement with these "classic" shows might be shaping their cultural legacy and contributing to ongoing processes of meaning-making in popular culture. My perspective has been profoundly altered on media consumption, encouraging me to view my viewing habits not just as personal preferences, but as part of a larger cultural dialogue. As I continue to engage with these media texts, I do so with a newfound appreciation for their role in shaping cultural memory and a keen awareness of my own part in the ongoing process of interpreting and reinterpreting popular culture.