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rson 1979,Schudson 2002).
A number of bellwether studies during and since the 1950s exemplified aspectsof what would become the production perspective. For example, C. Wright Mills’s1955 essay, “The Cultural Apparatus,” pointed to the role of the mass mediain inadvertently shaping American culture. Howard S. Becker (1974) showed thatartistic creativity is not so much an act of individual genius as it is the product of thecooperative effort of a number of people. The “news-making” studies of the 1970s(see, for example, Molotch&Lester 1974, Tuchman 1978, Gans 1979) exemplified
the production perspective because they went beyond tracing the social dynamicsof newsrooms to reveal how organizational routines determine what would bedefined as “news.” And, in her analysis of the “invisible colleges” where science is
created, Diana Crane (1972) showed that the kind of scientific knowledge produced
is a function of the reward system within a particular occupational community.However, the early work that most completely embodies the production perspectiveis Harrison and Cynthia White’s (1965) Canvasses and Careers. Theyfound that theories associating changes in art with revolutionary changes in societyor with the emergence of persons of genius could not account for the emergenceof impressionist art in nineteenth-century France. They showed that the older royalacademic art production system that had survived the economic turmoil and ideologicalchanges of the French Revolution collapsed a generation later with theadvent of the art market created by Parisian art dealers and critics, who promotedunconventional artists such as the Impressionists.Together, these studies illustrate the emerging production of culture perspective
insofar as they (a) focus on the expressive aspects of culture rather than values;(b) explore the processes of symbol production; (c) use thetools of analysis developedin the study of organizations, occupations, networks, and communities; and
(d) make possible comparisons across the diverse sites of culture creation. In commonthey show that culture is not so much societywide and virtually unchangingas it is situational and capable of rapid change.
However, not until publication in 1976 and 1978 of collections entitled The Productionof Culture, edited by Richard A. Peterson and Lewis A. Coser respectively,did scholars collectively recognize that these and other scattered studies illustratedelements of culture being shaped in the mundane processes of their production.The empirical studies were drawn from sites as diverse as science laboratories,
PRODUCTION OF CULTURE 313artist communities, and country music radio stations. These two collections ofessays signaled the emergence of the production perspective as a coherent andself-conscious approach to understanding how the expressive symbols of culturecome to be (DiMaggio 2000).This reviewassesses the success of the project in the quarter century since itwasfirst formulated. To this end, we introduce a six-facet model of production.We thendiscuss numerous studies that illustrate one or more of these facets. We examinrecent extensions of the production perspective to organizational research and to
studies of informal relations, and finally we discuss critiques of the productionperspective and sketch new opportunities.

 

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The Annual Review of Sociology is online at https://soc.annualreviews.org
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