Dialectic of Enlightenment and The Lego Movie

 

 

            Horkheimer and Adorno contend in Dialectic of Enlightenment that “there is the agreement—or at least the determination—of all executive authorities not to produce or sanction anything that in any way differs from their own rules, their own ideas about consumers, or above all themselves” (Horkheimer & Adorno 1112).  Warner Bros. Pictures 2014 film, The Lego Movie, is a poignant example of what happens to society when big business simultaneously rules the entertainment industry as well as the government.  The philosophy of Horkheimer and Adorno finds realization in the Lego Universe which must conquer the tyrannical Lord Business.  Business has brought the concept of making “the whole world made to pass through the filter of the cultural industry” (Horkheimer & Adorno 1113) to fruition.  The Lego Movie is a warning, fashioned in the guise of a children’s film, against the results that occur when the big business dictates what constitutes normalcy through the influences of television, music, and architectural creativity.

            The Lego Movie focuses on the character of Emmet Brickowski from Bricksburg who feels content in his regimented career as an ordinary construction worker within the Lego Universe.  He does not realize that he is ignored by his peers due to his agreeable character and willingness to follow along with the cultural norms of his society.  Emmet also fails to perceive that the government is controlling the movements of his fellow Legos by dictating entertainment such as music, television, and even the types of Lego architecture that can be built.  When Emmet meets a woman named Wyldstyle, a master builder who strives to create new Lego creations without an instruction manual, he becomes committed to the Resistance.  Unbeknownst to most Legos,  Lord Business seeks to freeze society in his own vision using Kragle, later revealed to be a tube of Krazy Glue.

            Lord Business’s embodies Horkheimer and Adorno’s idea that the cultural industry is “the notion of genuine style seen to be the aesthetic equivalent of domination” (Horkheimer & Adorno 1115).  Business controls the minds of his constituents by playing the same television show on every station.  By showing the same television show repeatedly, on stations controlled by Lord Business, the ruler essentially dumbs down his audience through repression, compelling them to abide by a successful deprivation,  This results in “laughter because there is nothing to laugh at” (Horkeimer & Adorno 1118).  The people of the Lego Universe discuss this television show repeatedly in the course of their conversations, essentially allowing Lord Business to control the topic of discussion by controlling the media to which his people are exposed.  While the Lego people are busy discussing the television show, they have no time to question the rule of Lord Business or express their dissatisfaction with their life or government.

            Controlling music is another way Lord Business keeps his follower under his control.  In the Lego Universe, the theme song set on repeat is “Everything is Awesome”.  From the moment they arise in the morning, throughout the work day, to the time they go to sleep at night, “Everything is Awesome” is playing through the speakers or being sung mindlessly as they pass their time.  Just like the television show which causes laughter without cause, this theme song causes a false contentment through repetition.  The song causes an insincere type of pleasure in which “no independent thinking must be expected from the audience” (Horkheimer&Adorno 1116).  It also acts as a “bloated pleasure apparatus” which brings no dignity or advancement of thought to their lives (1116).  Essentially, the Lego citizens are made helpless through repetition and repression.

            When Emmet the construction worker meets Lucy/Wyldstyle, he becomes part of the search to find the Piece of Resistance.  The Piece of Resistance turns out to be a tube of Krazy Glue, in the possession of Lord Business who would freeze all Legos in positions deemed acceptable by this tyrant.  It soon becomes obvious that the Master Builders, architects who build without instruction manuals, are the enemy and are the only ones who can save the Lego Universe by their ability to build anything at a moment’s notice.  In the Lego Universe, Lord Business has partially maintained his hold over society by the notion that “the public is catered for with a hierarchical range of mass produced products of varying quality, thus advancing the rule of complete quantification” (Horkheimer&Adorno 1112).   The Lego Movie’s premise is that it is these Master Builders who can communicate the need for innovation and individuality to Lord Business by saving his life with their creativity.  This revelation allows Lord Business to throw the Kragle over the edge of the universe, vowing to never enforce conformity again.

            Warner Bros. The Lego Movie is an excellent example of the results that occur when the culture industry is ruled by those powerful in both government and the entertainment industry.  The film brings the Dialectic of Enlightenment to life in the guise of a children’s movie with a message for society as a whole.  Human beings owe it to themselves to be cognizant that the values influenced by television, radio, and even architecture can be the government’s way of enforcing unity of its people.  Unity, while important emotionally and politically, is not a concept that should be up for definition by government and media.  This film allows both adults and children alike to consider the thoughts of Horkheimer and Adorno, proving the notion that citizens must decide the extent they will allow culture to influence them.

 

 

 

 

Works Cited

Adorno, T.W.. and Horkheimer, Max. "Dialectic of Enlightenment." Leitch, Vincent B. The Norton Anthology of Theory and Criticism. New York: W.W. Norton & Company, 2010. 1110-1127. Print.

The Lego Movie. Dir. Phil Lord. Perf. Chris Pratt. 2014. Film.