At first, the study of subcultures seems to deal with conspicuous groups of people who look and act in “opposition to mass culture” (Gelder 6). But, as Ken Gelder notes in his article, “The Field of Sub-Cultural Studies”, “not every subculture is spectacular, or even ‘visible’. And not every subculture… is oppositional or transgressive” (11). Subcultures are, therefore, sometimes difficult to identify at first glance.
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Of course, when attempting to identify particular subcultures, one must always take a relative approach: "subcultures are always seen in terms of their relationship to, and function within, the broader social system – society” (Gelder 2). After all, subcultures would not be regarded as abnormal if a comparable social norm did not exist.
In addition, a subculture within one society may be regarded as the standard in a different society. According to Albert Cohen’s essay, “A General Theory of Subcultures”: “each age, sex, racial and ethic category, each occupation, economic stratum and social class consists of people who have been equipped by their society with frames of reference ad confronted by their society with situations which are not equally characteristic of other roles” (52).
Cohen’s essay primarily focuses on the concept of “frame of reference” (50). Taking a very empathetic approach, he notes that situations and problems are “always relative to the actor. What the actor sees and how he feels about what he sees depend as much on his ‘point of view’ as on the situation which he encounters” (Cohen 51). In other words, each individual looks through his or her own lens of knowledge and experience to make judgments and decisions.
Within the confines of a subculture, individuals connect with others who have similar knowledge and experience to make similar judgments and decisions together. Soon, these individuals develop a collective frame of reference, which then becomes the basis of the subculture itself. Cohen writes: “with people who think and feel as we do we are relaxed. We do not have to defend ourselves to them. We welcome them to our company and like to have them around” (Cohen 53). As the basis of many friendships and organizations, a similar frame of reference between people is a social necessity. If each person had a conflicting point of view from the next, we would have social chaos on our hands. Somehow, individuals who are like-minded gravitate toward each other, forming exclusive subcultures.
However, “no group, of course, can live entirely unto itself” (Cohen 57). Some subcultures become so alienated from the dominant culture that their members must rely heavily on one another for everyday “goods and services” (Cohen 57). This “group solidarity” (Cohen 57) leads to a disapproving reaction from the outside world. Gelder adopts a Marxist view of this relationship: “severed from the broader and more stable category of (the working) class and tangential to labour imperatives, subcultures can often therefore be seen negatively: as idle, self-absorbed and inwardly turned, their activities and interest usually played out while at leisure rather than work” (Gelder 3-4).
Looking at Jean Luc Godard’s 1960 film, Breathless, the thievery and deviance of the main character, Michel, would be regarded as a subcultural lifestyle choice. However, this lifestyle does not contribute to the productivity of labour. Furthermore, since the lifestyle is depicted as being glamourous and pleasurable, it would likely be considered leisure in the eyes of a Marxist.
Group solidarity continues to affect Michel as his status in society does not coincide with his status among his subculture. Michel’s “acquisition of status within [a subculture of criminals] is accompanied by a loss of status outside the group” (Cohen 57-58). Although members of his subculture admire Michel’s actions, lawful society frowns upon those very actions.
From the Gelder and Cohen readings and the examples in the film, Breathless, it is evident that the formation of subcultures creates boundaries within society. These boundaries are the result of differing frames of reference. When studying subcultures, it is important to look through various frames in order to see the whole picture. Perspective is key.
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References:
Cohen, Albert K. “A General Theory of Subcultures.” The Subcultures Reader. 2nd ed. Ken Gelder. London: Routledge, 2005. 50-59. Print.
Gelder, Ken. “The Field of Subcultural Studies.” The Subcultures Reader. 2nd ed. Ken Gelder. London: Routledge, 2005. 1-15. Print.
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