“For the Record: Adorno on Music in the Age of its Technological Reproducibility,” October 55 (Winter 1990): 23-47.
Prehistory of phonograph; Chladni’s experiments; connects Adorno’s ideas of gramphonoic inscription to other modernist notions concerning utopian forms of writing or expression, such as cinema as ‘universal language.’

Simon, Richard Keller. "Between Capra and Adorno: West's Day of the Locust and movies of the 1930s." Modern Language Quarterly. Vol. 54 Issue 4 (Dec. 1993). EBSCO MegaFILE. 9 Apr. 2008. <http://proxy.library.upenn.edu:2055/ehost/detail?vid=11&hid=117&sid=a84a42de-5c72-4186-8e63-be5141727d64%40sessionmgr102>.

 

            This article traces the method Nathaniel West utilized in the creation of his novel The Day of the Locust.  The author identifies West’s employment as a screenwriter as the birthplace of the method he utilized to write The Day of the Locust.  In order to produce marketable screenplays, West was forced to “rearrange conventional film material rather than invent anything new.”   He later used this method of montage to create his novel, as nearly every element borrows from Hollywood films of the time.  The majority of the story he owes to Capra’s Mr. Deeds Goes to Town, his characterization borrows from B movie cliché’s of the time and other characters and themes come from other contemporary movies.  However, West’s success came by not merely adding these elements together, but reworking each one as a parody that attacked what West saw as Hollywood fantasy.  Further, West took revenge on the limiting Production code of the time by including scenes that could never appear on the screen, namely the cockfight and visits to a whorehouse.   While some commentators of the time thought that real life should be more like the movies, West effectively makes the movies more like real life.   The latter part of the article examines contemporary philosophical schools of thought that may not have directly influenced West, but observed the same elements of mass culture West satirizes. 

            This article is fascinating as it provides strong evidence for all of its assertions.  It leaves no doubt that the main elements of the story of West’s novel are a subverted version of Capra’s Mr. Deeds Goes to Town, and it shows how West attacked what he saw as not only the artifice of the movies but their power as well.  This only further adds to the interesting concept of West using that which he satirizes as direct subject matter as he not only weaves a tale about Hollywood movies but also uses the movies themselves in the creation of story elements.  As West collects from contemporary films for the creation of his novel, his novel is likewise harvested for the creation of the film that bears its name. 

 

http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=6446369&site=ehost-live

Stephen Hinton, Beethoven Forum 1996.  addresses characteristic confounding of narrative and visual responses to musical experience.

"For a perceptive and illuminating commentary on the Rheingold prelude as illusion of
“nature,” see Richard Leppert, “Paradise, Nature, and Reconciliation, or, a Tentative Conversa-
tion with Wagner, Puccini, Adorno, and the Ronettes,” Echo: A Music-Centered Journal4, no. 1
(2002)." from
SHERRY D. LEE

Eisler/Adorno example. Swellling military music accompanies swelling feelings of collectivity and willingness to fight onscreen, revealing music's intoxicating, harmfully irrational function.  The music doesn't intoxicate audience because instrumentation overshrill and tonality threatens to go wild. (23-4)

benjamin and afterlife of mimesis (CULTSTUD-L)

last chapter - Benjamin's notion of 'nonsensuous similarity' (CULTSTUD-L)

From book description:
Whereas the concept of semblance, or illusion, points to Adorno's links with Marx, Nietzsche, and Freud, the concept of subjectivity recalls his lifelong struggle with a philosophy of consciousness stemming from Kant, Hegel, and Lukacs.  Art, despite the taint of illusion that it has carried since Plato's Republic, turns out in Adorno's account of modernism to have a sophisticated capacity to critique illusion, including its own.

Detailed and systematic typology of listeners pp. 14-34, 1962 ed.
cited by mark evan bonds

cited by mark evan bonds

This is the topic for my Media Theory essay wherein I will explore Adorno and Horkheimer's assertions established in "The Culture Industry: Enlightenment as Mass Deception." Using this chapter as a foundation for contemporary theory, I will exaine how other theorists respond to the arguments presented by the two theorists and how the theories that emerge from The Dialectic of Enlightenment chapter are manifested in Los Angeles as a urban and cultural space.

This account will serve to enhance my understanding of Adorno and his relationship to Los Angeles—his situation as a German exile during the World War II era and beyond. It will most likely appear in my conclusion: I would like to avoid overuse of direct subjectivity in the immediate context of my argument. Although, if any elements emerge that sustain the arguments established by Adorno’s work with Horkheimer in “The Culture Industry,” I will refer to this book in the critical part of my essay. It might also help to establish my initial portrayal of the intimacy of Adorno’s relationship to Los Angles.

This article focuses specifically on Adorno and his relationship to Los Angeles. In exploring the entries that appear in Minima Moralia, Israel explains the personal nature of Adorno’s theory, especially those thoughts that appear in “The Culture Industry.” Notes from this article will, like the thoughts expressed in Minima Moralia, probably appear in the concluding statements of my essay as they examine the more personal relationship Adorno has with Los Angeles. I do not want to over-emphasize the subjectivity of Adorno’s theories throughout my work—although they may be helpful in introducing the intimacy of Adorno’s response to Los Angeles and the Culture Industry it presents. This is an important essay as it reminds us that Adorno’s experience cannot be separated from his theories.