Ronaldo’s Stance in the “Culture Industry”

 “Culture Industry” as a concept was developed in 1944, by Theodor Adorno and Max Horkheimer in their work ‘Dialectic of Enlightenment.’ Arguing that the culture industry tends to commodify culture and transform it into products for mass consumption as it is a ‘stigma of capitalism’ (Adorno, T.W, Bernstein, J.M., 2020). Emphasizing the homogenization of culture and how it shapes the public perception. Serving the commercial interests and being packaged and sold for profit rather than being in its true individual expression or creation. 

Ronaldo is not only a famous footballer; he is a global brand. His lifestyle, skills and persona are commodified and marketed to the global audience. Connected to Adorno and Horkheimer’s ideology, individual athletes or artists are transformed into a commodity. Ronaldo’s image over the years has been used to sell a range of products, extending from sports gear to luxury, to appeal to a larger demographic. His multiple endorsements with brands (Nike, luxury watches, the CR7 clothing line) demonstrate how his own talent was repurposed to fit in as a broader commercial narrative.

Adorno and Horkheimer had this one criticism, which was the standardization of content within the “culture industry.” Ronaldo’s narrative is standardized and built around themes of greatness, success and individualism, aligning with capitalist ideals. His personal brand of triumph over adversity and continued dominance in football connects to the formulaic and predictable narratives seen in other pop culture areas. His personal story is marketed to make it seem easily consumable, stripping away the complexity of his life and career. His position in the cultural industry being used as a symbol people admire or aspire to be impacts how others define themselves.

The culture industry thrives on reaching a vast audience, and Ronaldo’s appeal is truly international. Being an accessible figure for millions, whether it is through advertisements or the selling of football kits. It relates with the culture industry’s strategy of establishing globally relatable products, making them appealing and satisfactory to the audience. Ronaldo is often treated more as a product than a human. There is the constant need to produce content about him. Ranging from his personal life, training sessions or goals, to keep the commercial machine running.  ‘Amusement under late capitalism is the prolongation of work’ (Horkheimer, M., Adorno, 2002). Ronaldo becomes a part of the commercial cycle, keeping him in a system of production, as seen from his transfer deals that are high profile, such as Al Nassr. His success isn’t drawn just from him but also from the profitability of the media, club and advertisers, whom all profit from the ‘product’, which is Ronaldo.  

Ronaldo’s overwhelming presence in the global media might reduce football to another substance in consumerism. Instead of the audience focusing on the beauty of football, their attention can shift to Ronaldo’s personal brand instead. As his involvement in marketing campaigns highlights the intersection of sports and capitalist enterprise, that could cause a distraction from the game. Ronaldo’s career and public image are exemplary of how entertainment, identity and sports are intertwined in contemporary culture. 

References:

Horkheimer, M., Adorno, T.W. and Noeri, G., 2002. Dialectic of enlightenment. Stanford University Press.

Adorno, T.W. and Bernstein, J.M., 2020. The culture industry: Selected essays on mass culture. Routledge.