Globalization and Media

Photography and its production, dissemination and reception is a contested terrain in the scholarship of arts during the Mandate Era. Instead of juxtaposing different "national" viewpoints, the article adopts the perspective of an ostensible outsider, the American Colony photographer, Eric Matson. Matson's photographic angle on the realities of the Mandate captured local and global imaginations, and his imperial gaze has much to teach about local political dynamics in an increasingly sectarian space. The article explores his relationship with local inhabitants and international news agents, and the ways in which his status as a creator and agent of images influenced his photographic perspectives. It suggests that despite Matson's close access to the transformations and actors in his surroundings, his ability to engage with them declined over the years. Ultimately his loyalties would be with the international audiences who shaped his decision to perpetuate imperial views. Matson's photography, in its internationalist aspirations and imperial character, illuminates the relationship between the networks of global news communication and the imperial infrastructure that shaped them. His story, thus, reveals an unacknowledged vantage point on the tensions between local national movements and global influences in the Middle East. Finally, the article probes the global historical nature of local photographic production and its importance in scholarship on the Mandate Period.

An important center of dancehall reggae performance, sound clashes are contests between rival sound systems: groups of emcees, tune selectors, and sound engineers. In World Clash 1999, held in Brooklyn, Mighty Crown, a Japanese sound system and the only non-Jamaican competitor, stunned the international dancehall community by winning the event. In 2002, the Japanese dancer Junko Kudo became the first non-Jamaican to win Jamaica’s National Dancehall Queen Contest. High-profile victories such as these affirmed and invigorated Japan’s enthusiasm for dancehall reggae. In Babylon East , the anthropologist Marvin D. Sterling traces the history of the Japanese embrace of dancehall reggae and other elements of Jamaican culture, including Rastafari, roots reggae, and dub music. Sterling provides a nuanced ethnographic analysis of the ways that many Japanese involved in reggae as musicians and dancers, and those deeply engaged with Rastafari as a spiritual practice, seek to reimagine their li...

The preoccupation of this paper is to show whether the technological national conditions and situations permit the globalization processes for the media industry. The debate is oriented to digital convergent media, in response to increased user-generated content, and multi-platform content distribution. This context brings changes to communication paradigm that worked until now. New technologies have been facilitating the processes of globalization, and also changed the model of communication for social media networks. This paper searches an answer related to how much are implemented these technologies for Romania in order to participate at globalization, and to set what are the consequences for digital media? The paper demonstrates whether Romania is prepared for global media communication, and in what way.

Media economics in India has been triggered from three quarters: debates in the political economy of media culture; reflections on sectors of media businesses; and, over the last decade, by the flashpoints in media policy. This undulating scholarly corpus has nevertheless drawn sustenance from a wide variety of theoretical and methodological quarters. These varied influences reflect, to a large extent, conscious desires to grasp the ‘economic’ phenomenon constituting the media in their deeper, often peculiarly Indian, social and historical contexts. This is also perhaps why we find scholarship on India largely remaining aloof of intellectual orthodoxies marking the field media economics elsewhere in the world.

The article asks how local audience studies are re-framed when seen within a globalisation perspective. Based on a overview of recent theories of media globalisation, I argue for a bottom-up perspective on media globalisation in order to nuance top-down, often normative, approaches. I document the validity of this approach through an audience study of the ways in which 24 Danish children, aged 6-7, and 24 children, aged 11-12, along with their parents articulate and try to understand the complex universe of the Walt Disney Company, one of the oldest and still one of the largest media giants. Key questions addressed are: How do children and adults, respectively, articulate the narrative aspects of the Disney universe in terms of their possible global traits? How do they lay claim to the Disney universe as a a range of imported, material objects? Does language play a part in these negotiations as a discursive identity marker given that Disney’s animated film are among the only media and ICT products in Denmark which are dubbed rather than subtitled? What about audiences’ take on Disneyland Paris as a very tangible example of Disney’s more global extension into lucrative markets? Comparisons between children and adults are discussed in terms of age and in terms of audience perspectives on the Walt Disney Company ’s change of marketing and distribution strategies in view of intensified media globalization.

Since the end of the 1980s the development of theories of cultural globaliza- tion, in the Anglo-Saxon academic !eld, has resulted in a deep transformation in the ways of thinking media internationalization. The critical political economy of communication, which since the 1960s has played a key role in analysing media internationalization, has been supplanted by disciplines that until the late1980s had rarely addressed the international dimensions of media.
Theories of cultural globalization, as we will try to show here, are the product of a convergence in theory among cultural studies, anthropology and sociology, which regardless of their disciplinary differences tend to think of the cultural consequences of globalization along the same lines. As such, they propose a new dominant paradigm to apprehend the consequences of media internationalization – a paradigm which has deconstructed the perspectives of political economy and replaced them with a radically di"erent vision.
The aim of this chapter is to show, through some of the key texts, how these theories of cultural globalization have emerged and to underline some of the major ruptures that they have entailed in the ways of thinking media internationalization.

This paper explores on the neoliberalization of the South Korea’s popular cultural industry, which includes mass media like film, television dramas, and popular music. South Korea has aggressively developed this industry through a variety of neoliberal policies to compete successfully within globalization (eg the Hallyu Wave).

El trabajo que se desarrolla a continuación pretende desvelar las claves que se ocultan bajo la continua presencia de la publicidad poniendo de relieve en qué medida y desde qué objetivos ésta se ha convertido en el núcleo del vigente imaginario colectivo. Partiendo de un nuevo concepto de la presente globalización capitalista que desborda su entendimiento puramente económico, se pone de relieve el ejercicio de institución social que existe en la base de la misma, sobre la base de las aportaciones del filósofo Cornelius Castoriadis. El trabajo enfatiza el componente imaginario que contiene la presente producción capitalista, para terminar señalando la función que cumple la publicidad instalando ese componente imaginario en pleno corazón del presente imaginario globalizado.

This essay aims to provide a deeper consideration of Hallyu’s success. The essay applies two cultural information perspectives in complementing the evaluation of Hallyu. First is Appudurai (1990) of ‘scapes’ model, the fluxes of information and media cultures. Second is Schiller’s (1991) cultural imperialism, commoditization and consumerism. The question is whether Hallyu’s success as being purely Korean, East and West mix, or illustrating much of Western domination. This essay argues that Hallyu is very subtly complex phenomenon of cultural flows, state involvement and increased technology availability that made it so successful.

Located at the intersections of international porn studies, celebrity studies, gender, sex and globalization, this article looks at the recent and unusual case of Sunny Leone, an Indo-Canadian bisexual pornographic actress who successfully crossed over to Bollywood. By examining her many lives and avatars – as an international porn star, a reality TV contestant, a Bollywood celebrity and now a show host on MTV India, who maintains an active presence on social and digital media – I suggest that the unprecedented situation Sunny Leone has engendered in India presents us with a form of transnational onscenity: in other words, it brings to the fore the centrality of porn in the economies of global cross-cultural exchange and forces us to rethink previous paradigms of both ‘pornography’ and stardom, two domains that have more or less remained mutually exclusive of each other in the sub-continent. Leone’s case brings to the fore economic, social and cultural exchanges between two mammoth entertainment industries, Bollywood and American pornography, which had not encountered each other in these ways before. The capital gains from these exchanges seem to overshadow concerns about preserving the nation’s ‘moral’ fabric and have concurrently given way to newer spaces for accommodating a celebrity like Leone. Given that her crossover from porn presents an absolute rupture from all previous paradigms of female stardom in the Indian context, I place the discourses surrounding her within the tangible anxieties and fantasies of both desire and control over her ‘Indian but foreign’ and ‘pornographic’ body. Highlighting Leone’s agency through the entire process, which is unique in many regards, this article attempts to further rethink and complicate overarching notions of ‘objectification’ that often dominate the field.

This article aims to critically examine how the unprecedented expansion of television industry in Bangladesh became possible over the past decade, and how the increasingly market-liberalization trend of this country constitutes the structure, content and process of news production amongst the TV channels. This is the first time South Asia has experienced the phenomenon of a TV media 'boom' in Bangladesh, in spite of the background of politically violent and prospective new democracy. However, the escalating commercialization is triggering a divide between the actual role of television and the potential role it could play in a progressive society. Since the government permitted private broadcasting satellite TV channels in 1997, a massive investment in the production and advertisement sector has been systematically facilitated by the dominant political and commercial elites of the country. The number of television networks has increased by 19 over last 11 years. In this perspective, this article traces the answers to the questions - why and how a country with $440 per capita GNP should need 19 television channels? What is the power-structure behind the abnormal growth of TV industry? Who invests and what are the sources of asset? Aiming what profit? What backing keeps these channels running? How are the owners’ political and business networks affecting the fate of news content? The paper also highlights a contradiction between the television industry of Bangladesh and the international economic powers. On the one hand, the reformation pressures from many donor agencies indirectly influenced the recent Caretaker government to eliminate corruption, and ensure an untroubled access for the international corporation’s investment and business. As a part of this operation, Ministry of Information has shut down several corrupt-licensed TV channels. On the other hand, this article explores, advertisement and investment supports from the translational corporations have ultimately encouraged the political tycoons to expand their television outlets, and now these channels have been used as local and global business-lobbying-corruption-powerhouse. Subsequently, this paper also argues with evidence that the alarming drift of corporate takeover of news-slots through 'Corporate-Branding' and 'advertiser-media-partnership' inexorably shapes the selection and production of news. Finally, an empirical analysis of this article reveals a power-exercise-web between government, corporations, media owners and newsmakers which is radically dividing the most popular mass media of Bangladesh and transforming it into a market-oriented class media.

Em relação dialética com as crescentes transformações tecnológicas, as contínuas mudanças nas formas de interação e comunicação humanas são impulsionadoras de redes sociais e novas mídias de massa, ensejando im pactos decisivos e novas experiências, as quais exigem
uma devida compreensão científica e crítica. Essa nova realidade mundial desafia a comunidade acadêmica a renovar suas interpretações, requerendo abordagens integradas, permanentemente subsidiadas pelo diálogointerdisciplinar. Contribuem para este ambiente reflexivo áreas de investigação como a Filosofia, a Psicologia, a Comunicação, o Jornalismo, a Linguística, a Educação, a Arte, a Semiótica, ao lado de outras Ciências Humanas e Sociais. Enfoques direcionados a pesquisas no campo tecnológico, da informação e do comportamento muito têm a colaborar para uma visão mais abrangente desses fenômenos, trazendo reflexões e análises próprias, bem como inovadoras perspectivas teóricas e metodológicas. Animado por este propósito é que surgiu a ideia do Simpósio Internacional de Filosofia, Comunicação e Subjetividade (Lubral 2016). Ao integrar pesquisadores de três diferentes países, quatro nacionalidades e di-versas instituições, o simpósio priorizou a aproximação cultural e o compartilhamento de experiências sobre
formas emergentes de interconexão, comunicação e relacionamento humanos, estudadas em diferentes campos de abordagem.
Colaboraram para a execução deste evento o Curso de Especialização em Filosofia oferecido desde 2010 pela PUC Minas – Campus Poços de Caldas, juntamente com outras atividades acadêmicas realizadas pelo Núcleo de Ciências Humanas desta mesma unidade e sua atuação nos vários cursos de graduação da PUC Minas. Também se envolveram de modo especial os cursos de Comunicação Social e de Psicologia da PUC Minas, além de três Grupos de Pesquisa da instituição, vinculados ao CNPq – Conselho Nacional de Pesquisa: Cultura, Memória e Sociedade; Filosofia, Religiosidade e suas Interfaces; Modos de
Produção da Subjetividade. Do lado brasileiro destaca-se ainda a parceria e atuação do Instituto de Ciências Humanas e Letras da Universidade Federal de Alfenas (ICHL/Unifal-MG), pelo Grupo de Pesquisa, vinculado ao CNPq, Filosofia, História e Teoria Social. Do lado português, une-se a esta experiência o trabalho de ensino, pesquisa
e produção acadêmica desenvolvido pelo Labcom.IFP, da Universidade da
Beira Interior (UBI - Covilhã, Portugal), nas áreas de Filosofia, Comunicaçãoe Mídia, Fenomenologia, Artes e Humanidades, representado através dos grupos de Filosofia Prática e de Comunicação e Media.

This short article explores the changing meanings of "media" in media studies in relation to emerging technologies and critical paradigms in the field. After brief discussion of various media studies approaches, including media ecologies and algorighmic cultures, the article discusses the institutional rise of data sciences and compares this field to media studies. The author argues that while the foundational assumptions, methodological frameworks, and mindsets of data sciences and media studies differ, curious co-existences can morph into lively collaborations rather than turf battles, and concludes by pointing to research that explemplies a productive synthesis. Generally, I am not one for broad brushstrokes. In my own research I tend to become mired in media materialities, rather than commit to meta-level extrapolations. However, when given the opportunity recently to comment on some changes in media studies over the past thirty years, I decided to give it a try. To guide me, I borrowed a technique from Charlotte Brunsdon's (1998) chapter, "What is the 'Television' of Television Studies?" Reflecting on the development of a relatively new field of study, Brunsdon recognized that television scholars conceptualized and approached their

This chapter shows how from the 1960s to the 1980s children’s television made by or acquired for British channels integrated national, European and transatlantic programme forms, personnel and business relationships. American television’s production methods, personnel, and attitudes to the audience have been both adopted and resisted in British television culture. In Gerry Anderson’s science fiction series, US television was a model for British production practices, and programmes worked on a new sense of transnational community in futuristic settings. These strategies led to relatively successful attempts to sell British programming to US broadcasters in the 1960s. The boundaries between Britishness and Americanness shifted in dynamic ways, in relation to production, representation and reception. Imported US children’s programmes in Britain have often been criticized on the grounds of quality, but Anderson’s series were praised for their ability to reconfigure conventional action-adventure programme formats associated with the USA and sell those narrative forms back across the Atlantic. In another example discussed here, children’s programmes from continental Europe were comparatively cheap to acquire, professionally produced, and re-voicing in English enabled them to be assimilated into British television schedules. The strength of the US domestic television industry has been the foundation of its success in exporting children’s television as well as programmes for adult audiences, but the tendency to conflate American cultural exports with changes in popular culture in other nations is misleading. British and other European producers of children’s television, and their programmes, played a considerable part in the processes of modernization and transnationalization that can also been seen in other cultural sectors such as the arts, fashion or architecture.

Media coverage of the political and natural atrocities around the world has brought the plight of refugee and asylum seekers into centre stage. Malaysia as a developing country has become the destination of choice for these forcefully displaced groups as a point of transition or a place to seek refuge and resettle. Although being one of the major hosts of the world's refugee and asylum seekers, many Malaysian are still oblivious about the presence of refugees and asylum seekers in the country or their plight. It is at the assumption that the media provides distinctive information about the discursive strategies in representing this group. These depictions can either elevate their status, dehumanize or even silence them altogether. This study attempts to examine the representation of this displaced group in news reports from seven online news media in Malaysia: The Star, The News Strait Times, Utusan Malaysia, Malaysiakini, Malaysia Insider, SUARAM and Amnesty International. The general characteristic of the news report discloses that there are ideological differences at play and that refugees and asylum seekers are often depicted either as a threat to the national security or victims of circumstances, in need of protection. While the Malaysian media are trying to take a balanced approach in depicting these vulnerable groups, this study asserts that the representation favors more towards the government's stance rather than focusing on the issue at hand, the plight of these refugees and asylum seekers.

This article offers an analysis of one small-nation market’s perspective on the current and expected changes of digital distribution and its intermediaries. It demonstrates how key stakeholders in the Czech audiovisual distribution sector are reacting to regulatory processes at the EU level and how they are reconsidering their existing business practices, strategic plans, and structural positions vis-à-vis new global trends and competition in the evolving sphere of digital distribution. The article is not a full-fledged analysis of the Digital Single Market’s (DSM) potential impacts: instead, it considers DSM as just one factor in the strategic thinking of stakeholders, a factor that functions as a catalyst and a focal point in both business operations and policy making.

Rethinking Civilization offers an alternative view of human civilization in a globalizing age. Majid Tehranian analyses the transition from nomadic, to agrarian, commercial, industrial, and digital civilizations and argues that the growing gaps among the five major civilizations have led to terror operating as a form of global communication.This new book explores the uneven pace of development of human societies, particularly in the last two centuries, and argues that this is leading to a global civil war. Taking a long-term historical perspective, and developing a model that explains how empires, resistance, and civilizations have evolved alongside major technological breakthroughs in history, Tehranian offers a multi-cultural and multi-disciplinary analysis of the phenomenon. reconceptualizes "civilization" to make it a useful analytical rather than ideological category.defines the varieties of terrorism, including structural, nuclear, state, opposition, messianic, and anomic.addresses the contemporary problems of global governance and the evolution of international relations.traces the evolution of global communication from orality to literacy, print, electronic, and digital modes.forecasts the emerging problems of encounters among the five civilizations.This unique and original volume will be of great interest to students and researchers of globalization, international relations, peace studies and sociology.

By combining analyses of primary documents held at American and Russian archives and contemporaneous trade and popular press coverage, this essay demonstrates that the MPPDA recruited Eric Johnston as its new president in 1945 because it believed he was ideally equipped to facilitate Hollywood's post-war entry into Eastern Europe, particularly the Soviet market. It argues that the MPPDA planned to dominate Eastern European markets while preventing the Soviet film industry from expanding its operations into Western Europe, and identifies the steps that were taken within the American film industry in order to facilitate its economic objectives in Eastern Europe. It focuses on Johnston's first-hand knowledge of Soviet political and economic systems and his connections to high-level Soviet Communists and business elites and examines the ways in which Johnston's public personae promised to provide a shield with which to defend Hollywood against accusations of anti-American activity and reckless profiteering.

"This article explores the changing contexts of international film exhibition in Australia over a 20-year period (1989-2009) by examining in some empirical detail Australia's position in the global flow of films during this time. It argues that, at the most abstract level, distributors are engaged in the management and mediation of time and space in the field of global communications.

It is proposed that distributors, through the organisation of temporal differentiation, are explicitly active in the creation of both cultural and commodity value. This is particularly apparent as film distributors explore and engage new methodologies of film release, which emphasise overlapping, intersecting and contradictory temporalities in the cinema experience."

Media globalization has eased the availability of entertainment for African Children, particularly via cable-TV. Considering the power of media as socialization_agent, this research appraised proliferation of children shows on DsTv/GoTv via the lens of African cultural particulars, particularly respect for elders and authoritative parenting. Using media_content_analysis methodology and discourse_analysis, findings link global_media influence as the mechanism for the denigration of African values in children, with Social_cognitive_theory framing the implications. Recommendations are stronger national broadcast regulations for reinforcement of family values via television to preserve the identity of society, providing local content for global export and contributing to glocal media content.

Recent experimentation by Nollywood producers has encouraged increasing differentiation of film practices as a strategy for contending with a demanding video market. "New Nollywood" refers to a select group of aesthetically sophisticated films intended for a new tiered distribution method, beginning with theatrical release and ending with DVD release. Nigeria's upscale multiplex cinemas are therefore a starting point for examining what is new-and not so new-in Nollywood. This article argues that New Nollywood films and the cinemas in which they appear appeal directly to spectators' senses by promising not only a movie and shopping , but also an affective experience closely bound up with global consumerism. The films exhibit a metropolitan vantage point that emphasizes subjects such as airline travel, trendy technology, consumer culture, global pop culture, lifestyle brands, high fashion, and luxury goods. These films advertise their "modernity," which is not presented as a consolidated order of knowledge and values, but rather as an assemblage of signifiers of city life. Whereas mainstream Nollywood continues to produce strong narratives that resonate with its intended audience, New Nollywood with its emphasis on images and style-is a direct expression of the cultural and economic forces shaping life in Lagos today.

The course offers historical and comparative approaches to studying key theories and debates about media objects, practices, and phenomena. Media as cultural expressions and infrastructural flows are constitutive of global-izing and planetary processes. What counts as media theory and are there privileged places from where such theories have tended to originate? What kind of theory emerges when the discipline of film and media studies finds synergies with fields such as science studies, visual culture, and sound studies? How are manifestations of translocalities, regionalisms, worldings, and borders created and transgressed by flows (and stoppages) of videos and memes across varied distribution, blocking, and circumvention platforms?

The article studies media globalization from children’s perspective and with an empirical focus on animated Disney films. Based on overviews of recent theories of media globalization and of Disney studies, the article reports on the results of a major study on 48 Danish children’s articulations and negotiations of the key element in their Disney universe, the animated films. In particular, it is demonstrated how young informants, aged 6-7 and 11-12 respectively, identify and domesticate aspects of otherness. These negotiations are discussed in relation to wider issues of media and information literacies for the 21st century.

The global media networks and its usage have been significantly increased in recent years. The use of global media has influenced all aspects of social life. It has brought the people of distant communities together and resulted in diffusion of cultural values across the globe. This study explored the usage of global media by tribal people and its effects on the cultural values of tribal community in Dera Ghazi Khan. A survey was designed to get information from tribal people aged 15 years and above using global media networks. Primary data was collected from a sample of 420 tribal people was selected conveniently through multistage sampling. The data was analyzed quantitatively while using SPSS. The results showed that global media (Satellite TV, internet, radio) were available in most of tribal area and young tribal people were heavy users. Most of respondents were using global media on regular basis and they spent more than two hours daily in using global media. It was also found that those people who were more exposed to global media, were less liked to observe tribal cultural values and had less belief in traditional gender role.

As corporations ramp up ‘workforce globalization’ and young professionals increasingly pursue opportunities to work abroad, social entrepreneurs use online digital platforms to create offline social events where foreigners meet face-to-face. Through ethnographic study of such groups in Paris, Singapore, and Bangalore, Erika Polson illustrates how, as a new generation of expatriates uses location technologies to create mobile ‘places’, a new global middle class is emerging.

While there are many differences in the details of these expat groups, they share certain characteristics that indicate a larger logic to the way that the increasing mobility of professional career paths is connected to new subjectivities and changing forms of community among a diverse and growing demographic. This book intends to open up a new field of study, one which pays more attention to middle class mobility while questioning the privileging of mobility more generally.

What is commonly labelled as the anti-globalisation movement, in an effort to delegitimise its goals, actually embraces the forces of globalisation, using ICTs, global media and the internet extensively in an effort to create a global network of organisations. A more appropriate label is thus the anti-corporate globalisation movement - a movement against the unsustainable and unjust contemporary neoliberal globalisation processes. This essay uses the theory of relative deprivation to argue that, although the alter-corporate globalisation movement consists of groups from various movements, feelings of deprivation caused by economic globalisation have caused these to unite in a single globalised movement. Rose (1982) explains that “relative deprivation exist when people feel deprived as a result of comparing reality against some standard of what they feel reality should be.” Indeed the policies of neoliberalism have created and continue to foster a reality that is less than desirable: an unsustainable way of living, growing ecological problems, exacerbated global poverty, and increased inequality. Emerging amongst the world’s community is a sense of deprivation, relative to the small financial elite who benefit from such globalisation and the environmental stability of past generations. This sense of deprivation has emerged due to the abundance of information on the internet and its ease of access allowing people to become aware. Vegh (2003) refers to advocacy of this awareness as the first of three-web based activism categories, followed by mobilisation and then action. While optimists strongly believe in the power of web-based activism, sceptics have pointed out the limits of the internet for the alter-corporate globalisation movement. The movement still faces many difficulties due to limits to the extent that information on the internet can successfully reach people, the rise of weak forms of activism with social media, and resistance from corporations and governments.