In the United Kingdom, sociologists and other scholars influenced by Marxism, such as Stuart Hall and Raymond Williams, developed Cultural Studies. Following nineteenth century Romantics, they identified "culture" with consumption goods and leisure activities (such as art, music, film, food, sports, and clothing). Nevertheless, they understood patterns of consumption and leisure to be determined by relations of production, which led them to focus on class relations and the organization of production.^[183][184] In the United States, "Cultural Studies" focuses largely on the study of popular culture, that is, the social meanings of mass-produced consumer and leisure goods. The term was coined by Richard Hoggart in 1964 when he founded the Birmingham Centre for Contemporary Cultural Studies or CCCS. It has since become strongly associated with Stuart Hall, who succeeded Hoggart as Director.

From the 1970s onward, Stuart Hall's pioneering work, along with his colleagues Paul Willis, Dick Hebdige, Tony Jefferson, and Angela McRobbie, created an international intellectual movement. As the field developed it began to combine political economy, communication, sociology, social theory, literary theory, media theory, film/video studies, cultural anthropology, philosophy, museum studies and art history to study cultural phenomena or cultural texts. In this field researchers often concentrate on how particular phenomena relate to matters of ideology, nationality, ethnicity, social class, and/or gender.^{[citation needed]} Cultural studies is concerned with the meaning and practices of everyday life. These practices comprise the ways people do particular things (such as watching television, or eating out) in a given culture. This field studies the meanings and uses people attribute to various objects and practices. Recently, as capitalism has spread throughout the world (a process called globalization), cultural studies has begun to analyse local and global forms of resistance to Western hegemony.^{[citation needed]}

In the context of cultural studies, the idea of a text not only includes written language, but also films, photographs, fashion or hairstyles: the texts of cultural studies comprise all the meaningful artifacts of culture.^{[citation needed]} Similarly, the discipline widens the concept of "culture". "Culture" for a cultural studies researcher not only includes traditional high culture (the culture of ruling social groups)^[185] and popular culture, but also everyday meanings and practices. The last two, in fact, have become the main focus of cultural studies. A further and recent approach is comparative cultural studies, based on the discipline of comparative literature and cultural studies.^{[citation needed]}

Scholars in the United Kingdom and the United States developed somewhat different versions of cultural studies after the field's inception in the late 1970s. The British version of cultural studies was developed in the 1950s and 1960s mainly under the influence first of Richard Hoggart, E. P. Thompson, and Raymond Williams, and later Stuart Hall and others at the Centre for Contemporary Cultural Studies at the University of Birmingham. This included overtly political, left-wing views, and criticisms ofpopular culture as 'capitalist' mass culture; it absorbed some of the ideas of the Frankfurt School critique of the "culture industry" (i.e. mass culture). This emerges in the writings of early British cultural-studies scholars and their influences: see the work of (for example) Raymond Williams, Stuart Hall, Paul Willis, and Paul Gilroy.

Whereas in the United States Lindlof & Taylor say that "cultural studies was grounded in a pragmatic, liberal-pluralist tradition".^[186] The American version of cultural studies initially concerned itself more with understanding the subjective and appropriative side of audience reactions to, and uses of, mass culture; for example, American cultural-studies advocates wrote about the liberatory aspects of fandom.^{[citation needed]} The distinction between American and British strands, however, has faded.^{[citation needed]} Some researchers, especially in early British cultural studies, apply a Marxist model to the field. This strain of thinking has some influence from theFrankfurt School, but especially from the structuralist Marxism of Louis Althusser and others. The main focus of an orthodox Marxist approach concentrates on theproduction of meaning. This model assumes a mass production of culture and identifies power as residing with those producing cultural artifacts. In a Marxist view, those who control the means of production (the economic base) essentially control a culture.^{[citation needed]} Other approaches to cultural studies, such as feminist cultural studies and later American developments of the field, distance themselves from this view. They criticize the Marxist assumption of a single, dominant meaning, shared by all, for any cultural product. The non-Marxist approaches suggest that different ways of consuming cultural artifacts affect the meaning of the product. This view is best exemplified by the book Doing Cultural Studies: The Case of the Sony Walkman (by Paul du Gay et al.), which seeks to challenge the notion that those who produce commodities control the meanings that people attribute to them. Feminist cultural analyst, theorist and art historian Griselda Pollock contributed to cultural studies from viewpoints of art history and psychoanalysis. The writer Julia Kristeva is influential voices in the turn of the century, contributing to cultural studies from the field of art and psychoanalytical French feminism.^{[citation needed]}