(Page 234) Western culture dominates the popular culture market, which is sometimes referred to as cultural imperialism. Companies called culture industries produce and market it. Popular culture is globally pervasive making it an intercultural vehicle that is often seen as "the reality" of western culture by cultures the world over.
In Dion's essay, he gives a brief overview of Madonna's rapid assent to superstardom, the roles she plays in certain films, and her record releases. He quotes M.F. Christout (1993, page 36) on her highly praised dancing abilities. Christout compares her to Isadora Duncan, who was not only one of the "greatest" dancers at the beginning of the Twentieth century, but, like Madonna, one "who broke all the rules". (Page 284) Ann Daly, in her book, Done into Dance: Isadora Duncan in America, states that Duncan was "a masterly strategist who was very attuned to the reigning cultural discourses of her time"4 (Page 1048) and that she used this knowledge to succeed. With this being said, Madonna and Isadora certainly seem to have a lot in common. Madonna appears to be challenging society's notions of women today. Dion places Madonna within the context of twentieth century European women's history, which he says had "barely begun to be written". (Page 286) Dion states, "Women are enclosed in the images that men construct of them what theologians, who made and always wanted to be in control of ideas, call "nature"". (Page 285) Madonna certainly challenges the image of the kind of woman that theologians had in mind, namely, pure and saintly, and this may be why Europe, particularly France, either raves about Madonna, or ravages her. Madonna, as pop-culture superstar, crosses cultural lines and presents her goods for consumption. Pamela Robertson says, "Like Barbie, Madonna sells because, like Mattel, she continuously updates the model, making her former selves obsolete".