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mode orproduction back within the frame orpopular cullura! analysis. I will take up
James's book later in this chapler. Additionally. there are other writers in the field of
youth cullure sludy who bring a unique set orconcerns to the analysis. Continental youth
studies are here represented by Thomas Ziehe. who outlines a distincti ....e methodological
approach and a numbcr orconcepts that rail outside orthe parameters or American and
British research. Keith Negus bucks the trend or much contemporary writing by rocusing
on how music is produced within the confines orthe recording industry.
For the reasons jusl stated. much ormis chapter is taken up with the ideas or the
Birmingham School. Having discussed Paul Willis's work in the previous chapter. I have
identified Dick Hebdige. Angela McRobbie. and Simon Frith as key authours in this
tradition. Dick Hebdige has ....Tinen what is ....idel), regarded as the seminal lext in the
entire field orcullura! studies. Subculture The Meaning or Style. a neo-Gramscian
analysis ofthe punk phenomenon. Perhaps more than anyone else's.. Angela McRobbie's
.....ork embodies the \'a!ues and approach orthe Birmingham perspective in its CU!'Tent
manirestation. Simon Frith·s recent writings represent a kind orcritical retrospective on
a decade orconsumption-oriented popular culture analysis. I hope thai in highlighting
the evolving nature or this perspective. and the Ii\'ely internal debates to which it is
subject. J manage to avoid portraying the Birmingham School as a unirorm and dogmatic
school orthought. At the same time. my chierargument in the pages which rollow is that
recent academic inquiries into popular cuhure have sufTerred a drastic reduction in scope
due to three interrelated developments. neatly described by David James:
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