The phrase "commodity culture" is a valid and usable phrase in written English.
This phrase usually refers to a culture in which people highly value material possessions or money. For example, "Today's society is increasingly becoming a commodity culture, where acquiring possessions and making money are seen as greater accomplishments than ever before."
Morrison offers a typically powerful critique of the way that black subjectivity continues to be repressed in a commodity culture.
Most are sketchy, fairly idiosyncratic maps of New York City, which is often depicted as a well-head of crime, corporate exploitation and commodity culture.
They are like a po-mo Sartre and de Beauvoir, known for seducing (and sharing) their students and writing neo-Marxian denunciations of commodity culture.
By the end of the 19th century, the Holy Land of America was essentially the commodity culture of today, with its unstoppable flood of tantalizing, have-able, disposable things.
She meant, I take it, that they were to produce work that would go down well with foreign punters, shows like War Horse and Matilda, both namechecked as sterling examples of exportable commodity culture.
Gilroy examines the ways in which media and commodity culture have become preeminent in our lives in the years since the 1960s and especially in the 1980s with the rise of hip-hop and other militancies.
Creativity, authenticity and originality in our saturated and post-commodity culture might be measured by the ways in which oppositional and independent creators manipulate such technology to unintended ends.
A surprisingly affecting commodity-culture satire — partly set on the moon, where rich teenagers go for spring break — it earned Anderson a slew of fans and his first National Book Award nomination.
Hepburn plays it ambiguous, while the film skirts around the fact with amazing decorum ("Here's $50 for the powder room") in such a way that it is possible to watch Breakfast at Tiffany's without knowing Holly is a hooker, and thus not knowing what the story (with its commodity-culture title) is about.
Today's commodity farm culture doesn't allow for much deviation.
But if Ben Huh is a figurehead for ROFL as cheery, commodity pop culture, Poole stands for the value of online expression that defies all reasonable standards of taste and even the notion of authorship — let alone the traditional marketplace.
