Project 4: Ideology and Interpellation

This week’s project was to read Louis Althusser’s (1918-1900) Ideology and ideological state apparatuses (notes towards an investigation). Althusser discusses in this essay the system of representation (The subject is caught by terms of a ‘recognition scene’) and a mirroring (‘speculary’) effect being the general condition for the functioning of all ideology.

Althusser’s take on Marxist literature has a strong bearing on contemporary attitudes to the way that viewer, reader or spectator becomes the ‘subject’. He moved away from Marx’s usage of base and superstructure, making him an important figure in structuralism.

The theory of ideology can be closely linked to Antonio Gramsci’s (1891-1937) theory of hegemony (“world/class view”), where the dominant fundamental group exercise their dominance through meanings, values and beliefs i.e. culture. 

Maybe interpellation takes on a stronger role due to Marx’s theory of alienation?

·         How does Althusser’s structuralism show here?

The Marxist philosopher Althusser drew heavily on structuralist ideas. Generally his structuralism shows through his theory of ideology; a system of representations (including: beliefs, concept, ideas, images, myths and values) endowed with an existence and historical role central to society. This places culture, by means of structure, as a crucial vehicle to the values which underpin the status quo of society, especially in relation to his discussion of religious and familial ideology.

More specifically Althusser’s structuralism is explicitly seen in his theory of interpellation because of its relation to Saussarian linguistics; subjects being a function of language. When an individual is addressed as “you”, one is positioned as the subject, or object, of the sentence. According to Althusser the subject is addressed (hailed) by society.

As the subject is “always-already interpellated” (and the ‘speculary effect’ of ideology,) does this bring Althusser’s ideas closer to fellow structralist Jacques Lacan and his theory of the mirror stage?

·         What does Althusser mean by ‘ideology’?

Ideology is the... “representation of the imaginary relationship of individuals to their real conditions of existence”.

Althusser departed from the classical Marxist base/superstructure model (the base determining the superstructure). The economic infrastructure of the orthodox base still influences the ideological practices, though the creative arts take a more active part. 

One takes a position in society defined by social structure. Though these positions are not natural or inherent to the individual, these positions are mistaken as being natural/inherent in themselves. The implicit values and opinions taken by the individual suffuse the culture of a given time. 

Although state power is forced upon the individual through Repressive Sate Structures (the Army, the Police etc.) externally, state power also goes unrecognised through our values and opinions, internally.  Subtle Internal control of all citizens is through ideological structures or State Ideological Apparatuses, which foster ideology sympathetic to the status quo to maintain control. This can be seen in the media, art and literature.

Althusser’s theory of ideology does not function through the indoctrination of particular ideas and opinions but through ‘interpellation’ of the subject. Through Interpellation, we are presented with the illusion that we as independent individuals, freely choosing that which is imposed on us; as if free from social forces.  Individuals are subjects of ideology and are in a state of false consciousness. This accounts for cultural structures not being maintained by physical force; it perpetuates social class and leaves a minority to wield power.

The force applied by the state happens in many different ways (‘Over determinism’), though art has relative autonomy.

·         Is there, in your view, an area of visual culture where this idea may seem to act in an overt way?

Due to the reach and influence of the mass-media, and the parts that are recognised as visual culture, it is evident it that it is used by State Ideological Apparatuses to reinforce the dominant ideology through interpellation.

The area of visual culture where this idea may seem to act in an overt way is Television. Traditionally Televisions audience is seen as passive (i.e. The Hypodermic Needle Model), which would make interpellation perfect for State Ideological Apparatuses. 


Historically, you can compare the contents of the types of programmes broadcast in the United States and Soviet Union. Clearly you can see state power is being wielded to influence the internal values and beliefs of the citizens in the ideologies of the United States (capitalism) and the Soviet Union (communism).


Overtly, this can also be seen in Political Propaganda of any sort.  


Other Ideas

-          Classical Hollywood cinema: Used by capitalism not only to perpetuate the myth of the American dream but American beliefs and values on a global scale (The Americanisation of European culture?)

-          How Public Relations and advertising uses the media to reinforce Ideology to try and persuade us to consume.

Further Study:

Read Raymond Williams, Base and Superstructure in Marxist Cultural Theory.

If our experience of cinema is shaped by our identification (which can be linked to dominant ideology) with individual characters through suture –yes, I aware this from Lacanian psychoanalysis – but wouldn’t this be a form of interpellation ?

Bibliography

Althusser, Louis., 1969. ‘Ideology and ideological state apparatuses (notes towards an investigation)’. In: J. Evans, S. Hall ed. 1999 Visual culture: a reader. London: Sage Publications Ltd, pp. 317-323.

Barry, Peter. (2009) Beginning Theory: An Introduction to Literary and Cultural Theory. Manchester: Manchester University Press, pp.150-164.

D’Alleva, Anne. (2005) Methods & Theories of Art History. London: Laurence King Publishing.

Williams, Raymond. (1973). ‘Base and Superstructure in Marxist Cultural Theory. New Left Review. I (82).