Transnational Media

an exploration of the factors influencing the transnational transmission of telenovelas from Latin America, coupled with an analysis of the inscription of migratory narratives in telenovelas broadcast on Spanish-language television in the United States

Television has been considered one of the most popular media in Indonesia with national television programs as the most dominant for local audiences. Even though imported programs also have been introduced from the early periods of national broadcasting, media regulations in this country tend to limit foreign contents so it does not exceed national contents. However, in recent years national television’s popularity is being challenged not only by global media contents but also by the presence newer media platforms like the Internet. In addition, global media contents are also becoming available through pirated media, such as via VCD, DVD, MP3, and P2P, which are easy to access in many Asian countries due to ineffective regulations against piracy. This study proposes a research question: what are the current media regulations in Indonesia in the discourse of global flows of media contents through the Internet and piracy media? The data gathered mainly from academic literatures, news articles, legislation documents, and online media obtained from Lexis Nexis Academic database The study found that since media regulations in Indonesia mainly focus only in print media and broadcasting, there are few regulations that discuss the threat of global media contents that are mainly accessed through newer media such as the Internet and pirate media outlets. Additionally, lack of socialization of intellectual property rights remains as one of the biggest factors that made any regulations ineffective to overcome media piracy.

Commander: http://www.septentrion.com/fr/livre/?GCOI=27574100141390
La traduction joue un rôle central dans la production d’information par les agences de presse et pourtant, elle est longtemps passée inaperçue. Est-ce dû à l’image que les journalistes ont de la traduction ? Traductologie et sciences de la communication entrent en dialogue pour répondre à cette question. Comment les agenciers participent-ils à la production d’information en plusieurs langues ? Quelles sont les conséquences des stratégies de traduction adoptées par les journalistes ? Par son enquête de terrain, cette étude ouvre la porte d’une agence mondiale, l’Agence France-Presse, et d’une agence nationale, l’Agence télégraphique suisse. Par son analyse discursive, elle illustre les conséquences d’une conception étroite de la traduction sur des dépêches d’agence consacrées à un problème public suisse.

Drawing on qualitative interview data, this study examines the cultural translation of K-pop in Canada. By focusing on Canadian youth of Asian descent, who are relatively marginalized in the dominant Canadian mediascape yet considered a main segment of K-pop fandom in Canada, the study closely examines how racial and affective affinities of K-pop are translated and negotiated by young fans. In the study, young Asian Canadian fans challenged the racial stereotyping of K-pop as the other of dominant Western pop culture by positively redefining racial meanings attached to K-pop. Meanwhile, they affectively identified with K-pop idols via the extensive use of social media, and thus internalize a particular mode of subjectivity through which individuals willingly seek the model of a self-developing, entrepreneurial self.

This was published as “Radio’s Lost Critical History,” Australian Journalism Review Special Edition “Radio Reinvented: the enduring appeal of audio in the digital age,” 36:2, Spring 2015.
For an art form to flourish, a sense of expressive continuity – a knowledge of aesthetic
roots and a sense of how the new connects with the old – is vitally necessary, both for creative producers and for audiences. Yet, across the world but in the US in particular, soundwork’s critical history remains in a largely neglected state. Imagine the field of literature without access to the vast majority of books; imagine a contemporary cinema that cannot clearly recall what film was like before Star Wars, or Gone With the Wind. This is more or less the state of soundwork today. In this article I focus primarily on the United States, but most of what I say applies to other national contexts as well, with a few notable exceptions that I highlight.

This essay discusses how South Korean pop music (K-pop) can be utilized for enhancing digital media literacy. As a global cultural phenomenon comprised of as digital media, fandom, and industries, K-pop offers an engaging case for learning and teaching how transnational cultural content is articulated with digital platforms while reaching out to global audiences. The pedagogy of K-pop in media studies classrooms provides a reflection on, and antidote to, the commodification of culture in the digital platform era. The Open Access file is available:
DOI: https://doi.org/10.1386/macp_00047_7

“Samizdat, Tamizdat, and Beyond offers a long awaited rethinking of dissent at the grassroots level.  Looking primarily but not exclusively to the Eastern Bloc, this volume skillfully stretches our understanding of samizdat to incorporate visual art, music, video, and the web. The editors bring together seemingly disparate samizdat ‘texts’ by placing them within the larger context of transnationalism, gender, and mass media. In so doing, they remind us that dissent is, first and foremost, a creative human endeavor; one that not only has a history but also a future.”  ·  Paulina Bren, Vassar College

“The information and insights contained in this volume fill the gap in our knowledge about the vitality, diversity, and ongoing relevance of samizdat/tamizdat and alternative media not only in the post-Communist states represented here, but in emerging democracies in other regions of the world, e.g. the Middle East and Asia.”  ·  Michael Long, Baylor University

In many ways what is identified today as “cultural globalization” in Eastern Europe has its roots in the Cold War phenomena of samizdat (“do-it-yourself” underground publishing) and tamizdat (publishing abroad). This volume offers a new understanding of how information flowed between East and West during the Cold War, as well as the much broader circulation of cultural products instigated and sustained by these practices. By expanding the definitions of samizdat and tamizdat from explicitly political, print publications to include other forms and genres, this volume investigates the wider cultural sphere of alternative and semi-official texts, broadcast media, reproductions of visual art and music, and, in the post-1989 period, new media. The underground circulation of uncensored texts in the Cold War era serves as a useful foundation for comparison when looking at current examples of censorship, independent media and the use of new media in countries like China, Iran, and the former Yugoslavia.

The irresistible march of transnational media has given rise to widely experienced problems concerning cultural autonomy and identity. The research tradition of `cultural studies' offers a very appropriate and distinctive way of analysing these questions, especially by means of a critical ethnography of reception. The tendency in some recent reception research to celebrate `the popular' as a source of resistance to `the hegemonic' is criticized.

Subject of the study is a little-known aspect of Chamberlain’s appeasement policy, namely, the propaganda campaign towards the German public from September 1938 until May 1940. Although there is a vast literature about appeasement, Chamberlain’s efforts to reach the German people by way of propaganda have so far received no attention from historians. The thesis reconstructs for the first time the history of British German-language propaganda dur-ing Chamberlain’s premiership. The evolution of the institutional framework, the changing strategies and the contents of this propaganda campaign are described in detail, offering a deep insight into the thinking of the British Government about German society and exposing a naive belief in the power of propaganda.
In the thesis a new methodological approach is adopted by integrating the study of high poli-tics at the diplomatic level with the study of the propaganda campaign towards a foreign pub-lic. Whereas conventional interpretations consider appeasement a foreign policy strategy con-ducted exclusively on the diplomatic stage between the two governments of Britain and Ger-many, the author maintains that appeasement has rather to be viewed as a policy consisting of two equal and complementary pillars. The first pillar was the well-known dual policy of deter-rence and conciliation directed towards the Nazi regime at a governmental level. The second pillar was the propaganda campaign directed towards the German public over the heads of the Nazi regime. The propaganda campaign, while on the whole reflecting Chamberlain’s foreign policy on the governmental level, seems to have been regarded by the British government as an additional deterrent element to the diplomatic pillar: Hitler was to be warned that he would risk serious opposition from his own people if he provoked war, and thus be induced to seek a peaceful solution to his territorial claims. In this sense, the propaganda campaign was a safe-guard for the conciliatory part of appeasement, namely, the readiness to consider favourably Germany’s legitimate territorial and economic claims.
The thesis identifies five phases during which Chamberlain attached varying degrees of im-portance to the propaganda instrument in his dealings with Germany. Thus, the significance of propaganda increased in direct relation to the deterioration of Anglo-German negotiations on the diplomatic level. The propaganda pillar even outlasted the outbreak of war and the col-lapse of the first pillar: After negotiations on an official diplomatic level had come to an end on 3rd September 1939, Chamberlain sought to continue his policy of goodwill towards the German people by means of propaganda in the hope to stir up a revolution against Hitler.
In the end, however, British propaganda proved to be a failure. The author identifies two rea-sons for this. The first was a lack of credibility, i.e. the discrepancy between the picture of events as presented in British propaganda, and the reality as experienced by the German pub-lic. The second, and even more important, reason was, however, a whole host of unrealistic British assumptions about the Nazi state and the character of the German people. In particular, the British political elite unconsciously transferred British democratic traditions onto Hitler’s totalitarian regime. Chamberlain’s propaganda was based on the premise that public opinion did carry some weight in the Third Reich and that the German people, even though living un-der a dictatorship, would cherish similar political ideals of democratic participation and a dis-like of Hitler as British subjects.

In the 2010s, new forms of hand-to-hand digital media piracy displaced state control over media distribution in Cuba and facilitated the influx of global media, including K-Pop, just as Cuban socialism came under renewed pressure through economic reform. In this context, this article contends, Cuban youth turned to K-Pop to reimagine the self, sociality, and Cuba’s place in the world. Drawing on ethnographic fieldwork, this article shows how K-Pop appealed to fans by fostering fantasies of becoming enterprising individuals through neoliberal solidarity. These aspirations were reinforced by the industry’s pursuit of immediation, or its use of digital media to produce intimate and immediate connections that denied the mediations on which they depended. Ultimately, this article demonstrates how desires for and anxieties about immediacy motivate K-Pop fandom and its geo-political imaginaries and how a global capitalist culture industry can appeal to fans by offering relief from the neoliberal capitalism it reproduces.

This is the accepted version. The published version can be found at the following link (warning paywall): https://journals.sagepub.com/doi/10.1177/13678779211024665?fbclid=IwAR3GV8tQMRrDE_Cd9yMnsgUZYaGsTgubgPOzfxwB4KS3W-b-nXlEwSm3qt8. Email me at lhumphreys@tulane.edu and I will be happy to send you the published version.

BBC World Service, Radio France Internationale, and Voice of America
in the Context of International Communication. From Propaganda to Public Diplomacy.

                                                    Summary
The chief purpose of BBC World Service, Radio France Internationale, and Voice of America in the Context of International Communication: From Propaganda to Public Diplomacy is to analyse the role radio stations fulfil for international communication nowadays in the light of the roles they served in the past (that is, the times when radio dominated). During the interwar period and right before World War II, new radio stations came to being that aimed at broadcasting content targeted at the listeners abroad. Initially, these radio stations were transmitting mostly official messages or functioning as private
point-to-point communication; in both cases, they functioned similarly to telegraphs (assuming one addresser and one addressee). Along with not only the development of the transmitting and receiving devices but also the widening of our knowledge on radio waves, radio turned into a mass medium, thanks to various “freaks,” including investors and other radio lovers. Having access to the network of correspondents and a powerful radio signal, radio stations back then were able to provide live coverage of the events that interested listeners all around the globe. The capacities of radio were significant during World War II as well; precisely, it ceased to serve communication purposes exclusively, and was included into military arsenal (used not only in operations and diversion actions, but also for jamming and scouting). This military conflict showed that the possibility of reaching listeners abroad – that is, the citizens of adversary, allied, and neutral states – had been of enormous
importance, whereas the ability of shaping the opinions of foreign citizens had become a crucial part of contemporary warfare.
The relevance of radio for international communication was indisputable also during the Cold War. Radio Free Europe, Radio Liberty, Voice of America, BBC World Service, Radio France Internationale, Deutsche Welle, Radio Madrid, Radio Moskwa, and Radio China International were fundamentally engaged in both ideological war and public diplomacy.
Simultaneously, various international processes changed the position radio occupied among other media; the “Golden Age of Radio” reached a significant decline in the 1950s, when the dominance of radio gave way to the advent of television, whereas from late 1990s on the situation of all media was revolutionised by the birth of the Internet. As a result, digitalisation, convergence, shifts in reception and use of media
– not to mention other broader phenomena, including the dominance of audiovisual culture – affected not only listeners and their preferences (inclining to fragmented radio programmes), but also ratings and marketability of radio stations. Finally, since political communication has privileged the audiovisual paradigm, and domestic policy has gradually become a media issue, radio has withdrawn in this area as well, giving
primacy to television and new media. Because of the aforementioned factors and shifts, it becomes vital to carefully reconsider the contemporary and international status of radio. After all, one might
be tempted to think that radio is no longer in its heyday, whereas both governments and individual listeners do not deem it as a genuine informative medium or a means capable of reaching the foreign public opinion.
This book, therefore, explores how Radio France Internationale, Voice of America, and BBC World Service changed diachronically in reference to other radio stations alike, points to rules they follow and formats their programmes take, and analyses their recent activity in international communication between 2014 and 2018.
Chapter 1 introduces theoretical vocabulary international communication relies on, and juxtaposes its various definitions with related cultural phenomena, including transcultural communication, political communication, propaganda, public diplomacy, cultural diplomacy, media diplomacy, and soft power. Aside from analysing these concepts, this chapter also proposes an innovative definition of international communication and its graphic model.
Chapter 2 is diachronic, and it focuses on the discovery of radio waves and the invention of radio read from the technical perspective, which determines the position of radio for international communication. Moreover, the early forms of radio are recalled with regard to their significance for foreign communication. Finally, the development
of radio and broadcasting in France, United Kingdom, and the USA is presented with an emphasis put on the differences between their broadcasting models.
Chapter 3 is devoted to the development of international broadcasting, dividing it into three stages: 1) the early 20th century (until the 1930s), when radio waves were being tested, the first experimental stations came to being, and first international radio stations were founded, including those in Nauen and Zessen (Germany), Sainte-Assise
and Le Post Colonial (France), Eindhoven and Heuzen (Netherlands), Chelmsford (United Kingdom); 2) the World War II period, in which the uses of radio for international military communication are analysed in reference to propaganda radio stations (Radio Berlin, Radio Hamburg, Radio Stuttgart, Radio Tokio) and its prominent figures (William
Joyce (“Lord Haw-Haw”), Paul Ferdonnet (“the Stuttgart Traitor”), Mildred Gillars (“Axis Sally”), Iva Togura (“Tokyo Rose”)), British pirate radio stations functioning in response to the Axis propaganda (for instance, Gustav Siegfried Eins), the radio stations of French Resistance with a special emphasis put on Radio Brazzaville, that is, Charles de Gaulle’s chief means of international communication, and, finally, Voice of  America serving for public diplomacy purposes; 3) the Cold War period, in which the objectives, assumptions, and strategies of international broadcasting posed by France, United Kingdom, the United States of America between 1945 and late 1980s are examined.
The last chapter is entirely dedicated to BBC World Service, Radio France Internationale and Voice of America nowadays, paying attention to their regulations, structures, and broadcasting services. These radio stations are understood as means used for public diplomacy of their countries, and their institutional and formal connections to government institutions are discussed. Consequently, this comparative chapter refers to the legal
contexts, supported by acts and regulations of a given country, presents the principles and levels of funding, reconstructs the institutional positions of radio among other media, and characterises broadcasting in terms of services, directions, and programmes. The analysis of contemporary strategies and activities of the discussed radio stations
makes it possible to claim that the use of radio for international  communication has not lost its relevance, and currently is supported with television and the Internet, that is, the media that were invented later in the course of historical progress. Radio stations, therefore, are not held in media bubbles; rather, they are still significant means
of foreign communication because of their specificities. Furthermore, radio communication complies with strategic foreign policies, which affects various parts of the world where levels of technological development diverge whilst the access to television or the
Internet connection is not available. In the countries stricken with military conflicts or poverty, radio is still the predominant means of communication that serves numerous purposes; not only is it a source of information on military operations, epidemiological situations, climate and natural disasters, but also it educates its listeners on civil and
human rights, especially women’s rights. Finally, Voice of America, BBC World Service, and Radio France Internationale support policies against extremism and propaganda (for instance, fake news).
The services of the discussed radio stations are related to the policies the United States of America, United Kingdom, and France put forward against ISIL and international terrorism, but also to those actions that support democratic changes in the countries affected by war and political unrest.

Various initiatives to unite the people and the nations of Europe have often met resistance when trying to reach a level of integration that would comprise significant political and cultural components. European authorities have nurtured high hopes that mass media could play a decisive role in creating and securing a form of European public sphere driven by the development of a European media sphere. Despite daring and resolute initiatives, any significant European media sphere has remained as elusive as a comprehensive Europe-wide public sphere. Adding to the complexity of the matter, the articulation between regional, national, and European public and media spheres forms a range of complex configurations. Ultimately, while preserving the budding of transnational media spheres, attention should be shifted toward making existing public spheres more porous while interconnecting them to enhance mutual understanding and empathy among the peoples of Europe.

Hospitality is central to the question of political frontiers where admittance and refusal across state borders may be a matter of life or death, and also touches on the fundamental ethical question of the boundaries of the human, the constitution of the subject, how and why we set these up, and ways in which we can attempt to bring them down. A majority of migrants today now seek refuge in cities rather than in camps, prompting us to rethink urban space to accommodate newcomers more long-term. Who has the right to belong? And on what terms?

As we can no longer separate cityscapes from mediascapes, we need to also reconsider how these now almost indistinguishable ‘-scapes’ constitute ‘connected’ places of exclusion and belonging. In this dilemma of who is in or out, the political unwillingness and inability of dealing with the notion of the Other, has assigned the to those who are assumed to be “unprogrammable” within national narratives, which has resulted in the ad nauseam repetition of the term “refugee crisis” in the past decade. I suggest that it is not the refugee, migrant or immigrant who shape the crisis. If we shift the lens towards host societies and their relationship to newcomers, my suggestion is that we instead call it a “crisis of hospitality”, host societies become implicated in this issue. It follows that we lack a language of hospitality in political and media discourses, if we are to act politically towards emancipatory politics towards the right to the city, the right to belong, and more importantly, the ethics of this belonging.

Considering that politics, urban planning and media platforms are unable to resolve this dilemma, in Satellite Lifelines, I turn to philosophy and art instead.  The book is a the same time philosophical inquiry, a critique of modernist urban planning, and artistic research. I take the reader to a multiethnic suburb in Sweden, where a participatory art installation on satellite dishes on modernist façades become a surface for understanding host-guest relations. In working closely with residents in a co-generative capacity, notions of belonging through transnational media and multiple reflections on what it is we call home flourished. Is it the vibrations from television broadcasts from faraway homelands resonating in large TV screens in living rooms while in exile? Is it the notion of community building from the ground up, which provides the grounds for social, urban and media justice movements? Or can home be found in the essential meeting with the Other by the face-to-face encounter, as Emmanuel Lévinas suggested? Questions about being trapped in eternal guesthood also came to the surface, and suggestions as to how art projects through a “hospitable turn” can open pathways for the right to host are explored.

This study examines whether news broadcasts across nations are more cosmopolitan or parochial in their essence. To answer this question, the article proposes two unique theoretical concepts: "global newsworthiness” and “reversed domestication." Global newsworthiness refers to news broadcasts that include ranges of countries, selected by several different reporting criteria. Reversed domestication refers to the connection made between the country of origin of the broadcasting media and the news content. Four television news networks were compared - CNN International, BBC World News, Al Jazeera English and France 24. The findings point to different levels of global newsworthiness and reversed domestication.

In this article, I critically analyse the relationship between media and conceptualisations of diaspora as a form of imagined transnational community. Despite the central place of transnational media in understandings of diasporic communities, there is yet to be a sustained dialogue between theoretical understandings of diaspora and diaspora media studies. I argue that the role of transnational media in conceptualisations of diaspora is too often reduced to the facilitation of cross-border communities. Not enough attention is paid to the alternative possibilities, including the potential of media to challenge cross- border solidarities in ways that fundamentally undermine prevalent understandings of the media and diaspora relationship. As a way to address this issue, it is important that studies of diaspora and media incorporate non-diasporic media into their analyses.

This study examines whether news broadcasts across nations are more cosmopolitan or parochial in their essence. To answer this question, the article proposes two unique theoretical concepts: “global newsworthiness” and “reversed domestication.” Global newsworthiness refers to news broadcasts that include ranges of countries, selected by several different reporting criteria. Reversed domestication refers to the connection made between the country of origin of the broadcasting media and the news content. Four television news networks were compared—CNN International, BBC World News, Al Jazeera English and France 24. The findings point to different levels of global newsworthiness and reversed domestication.

Abstract The irresistible march of transnational media has given rise to widely experienced problems concerning cultural autonomy and identity. The research tradition ofcultural studies' offers a very appropriate and distinctive way of analysing these questions, ...

My aim in this paper is to offer an alternative perspective to discourses on the current concerns of media utilisation for ethnic minority groups. The Turkish community in Germany may provide alternative viewpoints to research originating
in countries with colonial history. Besides a short historic overview I focus on the key purposes of media for this community as well as issues of mediated racism and how they are counterbalanced by the concept of transnationalism.