Mass media is, of course, produced by the rich and the privileged. It bears the stamp of their worldview (the odiously sentimental material about the family having to pull together to support the dad’s tech start-up in Pixar’s Inside Out comes to mind) and the clean, unadventurously crowd-pleasing aesthetics which are the typical result of the focus grouping process. To some people, the slickness of that production—the glossy cover of an official behind-the-scenes art book, the breathtakingly realistic but eerily lifeless CGI of Disney’s recent spate of live-action remakes—has become synonymous with art itself as an idea. Even as they earnestly discuss the necessity of representation and the pain of its absence, they learn not to seek out or accept it unless it’s handed to them from on high by one of perhaps four recognizable branded corporate entities.
The sad irony is that the representation so many are so hungry for already exists. Outside the tiny, blinding spotlight of corporate media, there is an entire world of small, independent media made by marginalized creators and outsider artists of all kinds and reflecting their unique and idiosyncratic worldviews.
Gretchen Felker-Martin on.
I have been trying, not always successfully, to consume more “small art”1 and would strongly encourage everyone else to do so, too…
- Or, at least, less mass-produced corporate entertainment product. [↩]