Commercial Culture Quotes

I am somebody who is not too fond of fancy or commercial stuff, like dancing around trees. Even in the 20 films I have done in South, none had any of such stuff.

I think hard-core capitalism tends to commercialize everything.

For every other war the government put out propaganda posters. Our government tells us to go shopping and see Cats again.

Consumerism is the reason Christmas has morphed into a hollow shopping ritual that leaves too many families with debt hangovers and an empty feeling inside.

We're a country of five-second sound bites and 30-second commercials. Eight years of one person is just too much.

Art among a religious race produces reliques [sic]; among a military one, trophies; among a commercial one, articles of trade.

Los Angeles is an uncanny place to live. It has many science fiction qualities. For example, when I'm standing in line at the supermarket and I recognise the person in front of me, but I can't figure out how I know them. Suddenly, I realise I saw them in some random commercial six years ago.

All of us somehow felt that the next battleground was going to be culture. We all felt somehow that our culture had been stolen from us-by commercial forces, by advertising agencies, by TV broadcasters. It felt like we were no longer singing our songs and telling stories, and generating our culture from the bottom up, but now we were somehow being spoon-fed this commercial culture top down.

Commercial jazz, soap opera, pulp fiction, comic strips, the movies set the images, mannerisms, standards, and aims of the urban masses. In one way or another, everyone is equal before these cultural machines; like technology itself, the mass media are nearly universal in their incidence and appeal. They are a kind of common denominator, a kind of scheme for pre-scheduled, mass emotions.

A commercial society whose members are essentially ascetic and indifferent in social ritual has to be provided with blueprints and specifications for evoking the right tone for every occasion.

It's becoming increasingly difficult to find kids to hang out with that don't consume a lot of commercial culture.

That sinister Stonehenge of economic man, Rockefeller Center.

We know that the adult in a certain sense has an attitude toward life exactly opposite to the attitude of commercials. Commercials say, 'Your longing for 3.2 beer is very important. Your longing for skin that doesn't have any wrinkles in it, that's very, very, very important.' The adult says, 'No, I've got wrinkles, so what?'

I'm thankful that we live in a crassly commercial, polarized culture, so media jackals like me have a lot of work to do.

There is no such passion in human nature, as the passion for gravy among commercial gentlemen.

I do fear that global capitalism is making us more like each other in regrettable ways, e.g., more people are increasingly captivated by spectacles of violence and aggression or of conspicuous consumption that are the subjects of the most commercially viable films across countries precisely because they don't depend for their appeal on cultural fine points; and more people are prone to deal with others on a purely instrumental and impersonal basis.

I seriously hate pop music and all things super-commercial.

We're rapidly approaching a world comprised entirely of jail and shopping.

I work really hard to portray things that you're not going to see at Walmart.

In USA culture is just a matter of commerce. So, you know, I don't really look for that, and I don't expect to find it in any city.

We know that global capitalism, and the commercially driven culture that comes with it, can be a powerful solvent, but many of us who benefit from it economically can regret the effect it has on our own lives as well as on the lives of others, and we should not view ourselves as helpless in the face of an irresistible force, especially since we may very well be complicit. We should be prepared to help others or to leave them be to sustain their cultures if we judge that they are of intrinsic value or of value to their members.

Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.

I wanted to try to create characters that happen to be Asian but who are pretty different from those we generally see in our culture, in our commercial culture.

What passes for culture in my head is really a bunch of commercials.

This false distance is present everywhere: in spy films, in Godard, in modern advertising, which uses it continually as a cultural allusion. It is not really clear in the end whether this 'cool' smile is the smile of humour or that of commercial complicity. This is also the case with pop, and its smile ultimately encapsulates all its ambiguity: it is not the smile of critical distance, but the smile of collusion