Harry Potter & the Commodity Fetishism

Amalia Rodrigues flick Survey Prompt 1 evoke tinker & the Commodity fetichism There atomic number 18 few things in this humanness that manage to course into every crevice our lives as humans the air we breathe, the people we move with, and in our contemporary culture, the dealing and selling of commodities. The masses allow adopt a give the people what they want attitude that results in the commodification of everything thinkable. rase as a negation of that social purposiveness which is spreading through the market, arts freedom dust essentially bound up with the premise of a commodity providence (Adorno & Horkheimer 1238).There may have been a time when art was an escape from the control of commerce, when people created things motivated by passion and emotion rather than by the prospect of dollar signs no longer does that time exist. In film, the studio apartment system has become a monopoly, and the structure of films, a formula. Though near would argue that there ar e a myriad of genres that give miscellanea to the industry, Adorno and Horkheimer would counter that a menu is still not a choice, and that the monopolisation of the film industry takes away from a world of choices and freedoms.The industry has morphed into a total administration of art, undoubtedly integrating our pleasure in the field of operation with the machinery of global media firms. A textbook example is the franchise of the Harry Potter films, which more than most any series of films, proliferates the sins of hyper commercialism. A commodity is be as whatsoeverthing that has use value, or utility, by satisfying a detail need or desire, created to be exchanged for a profit.It must have some sort of utility, or it will not be in demand(p) by a prospective buyer. So far as it is a value in use, there is nothing mysterious ab come in it, whether we overturn it from the omen of view that by its properties it is capable of satisfying human wants, or from the point that t hose properties are the product of human labor (Marx 1). This could be most anything, world that everything today has a price put on it by society. We are constructed through our relationship with and use of commodities in our everyday lives.As a people, we have become obsessed with the commodities we surround ourselves with, constructing our identities through the material goods that exist us. Commodity fetishism replaces relationships between people with relationships between humans and objects. The belt of the Harry Potter phenomenon occurred in the late nineties and has only flourished since. The write of the series, J. K. Rowling, created a world that nobody had seen before, a world of magic. This world, along with the angelic characters involved, are what our society seamlessly bought into.The masses fell in love with Harry, Ron, and Hermi single, going them vulnerable to the impending commercial goods that the media conglomerates would soon overwhelmingly develop. And, no doubt, the Potter-inspired deal began to flow like lava as the movies were produced one by one, each one more successful than the next. Mindlessly, readers and viewers were sucked in by the new world of witchcraft and wizardry that leaves ceaseless possibilities for immense revenue. To quote Adorno and Horkheimer, The culture ever cheats its consumers of what it perpetually promises.The promissory note which, with its plots and staging, it draws on pleasure is endlessly draw come to the fore the promise, which is actually all the spectacle consists of, is illusory all it actually confirms is that the real point will never be reached, that the diner must be at rest with the menu (Adorno & Horkheimer 1230). When adopting the premise of Harry Potter from words in a book to the big motion-picture screen, the film makers undoubtedly had dollar signs flashing in their pupils.Such a fantastically huge foundation was built and the only watchfulness to move was up. Before Harry cou ld say abracadabra (or something to that effect) stores began to overflow with anything and everything with the name Harry Potter plastered on the side. Hats, mugs, T-shirts, video games, costumes, the signature round glasses, not one item from the series has gone unnoticed by the conglomerates who are so devoted to squeezing every ounce of profit out of poor Harrys wand.Even the earwax jellybeans that Dumbledore so foolishly consumes out of his bag of Bertie Botts Every Flavor Beans are readily operational at your local superstore. There is simply no escaping the pure brilliance that is the Potter revolution. Children are hosting Harry Potter themed birthday parties, adults are tattooing the unlighted mark on their bodies, college students are starting quidditch teams and tournaments, and families are taking way trips to the newly developed Harry Potter World in universal Studios.This latest installment of the Harry Potter craze allows fans to live in the world they see on scre en, drink butter beer, and purchase wands from Olivanders all of this for the low, low price of a hefty wad of hard currency straight into the pockets of the already multi-billion dollar industry. And yet, somehow our society does not intellectual being conned into purchasing such unnecessary yet desirable items, at a time depicting the idea of commodity fetishism. Massive consumerism based on obsessions bony from movies and franchises such as Harry Potter happen day to day, social class to year, generation to generation.It has become so naturalized in our society to buy into our every impulse of consumer products that we cannot help but be blinded by our desires for such vain items. In a way, we, as consumers, are being utilise similarly to the way that house elves like Dobby are exploited in the Harry Potter series. We are born into our exploitation, and in some ways seem to enjoy it, as the elves seem to enjoy their modify work. As a population, we can only hope to be as l ucky as Dobby, to find a sock in an old(a) diary, and be set free from manipulation.