Hiding in the Light: On Images and ThingsHebdige looks at the creation and consumption of objects and images from fashion and documentary photographs to Biff cartoons and the Band Aid campaign, and assesses their broad cultural significance.Dick Hebdige looks at the creation and consumption of objects and images as diverse as fashion and documentary photographs, 1950's streamlined cars, Italian motor scooters, 1980's 'style manuals', Biff cartoons, the Band Aid campaign, Pop Art and promotional music videos. He assesses their broad cultural significance and charts their impact on contemporary popular tastes. |
Contents
Hiding in the Light Youth Surveillance and Display | 17 |
Mistaken Identities Why John Paul Ritchie Didnt Do It His Way | 37 |
Towards a Cartography of Taste 19351962 | 45 |
Object as Image the Italian Scooter Cycle | 77 |
In Poor Taste Notes on Pop | 116 |
Making do with the Nonetheless In the Whacky World of Biff | 147 |
The Bottom Line on Planet One Squaring Up to The Face | 155 |
Staking out the Posts | 181 |
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Common terms and phrases
advertising aesthetic American Americanisation artists avant garde Band Aid Baudrillard become Biff boys Britain British centre commercial commodity consumer consumption context critical critique debates Derek Ridgers discourse distinction early emergence Face Félix Guattari film forms function Hoggart Ibid ideology industrial Innocenti instance Italian scooter Jean Baudrillard Jean-François Lyotard kind Lambretta language less live London look machine magazine margin top marxism mass meaning modern modernist mods motor motorcycle Nick Knight object organised Orwell Paul Paul Virilio photograph Piaggio Picture Post political pop art popular culture Post-script post-War postmodernism postmodernist production punk Reyner Banham Richard Hamilton rock Roland Barthes sense significance social space strategies streamlined structure Stuart Hall style subculture sublime taste television Thatcherite things tradition values Vance Packard Vespa Waugh words working-class youth
Popular passages
Page 13 - The aesthetic world of the painter is of a different kind from that of the world about him. Its boundaries enclose a substantially and essentially different microcosm. The photograph as such and the object in itself share a common being.