Media Companies and Their Strategies in Foreign Television Markets (original) (raw)
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The global imperialism project: lessons from television, movies and radio
African Research Review
Old and latest trends in discussions in the sphere of the role of mass communication in media and cultural imperialism have centred on cultural hegemony and cultural colonialism among other such lines of ideological debate. Some debates have also pointed to globalization as the only way to spread development across the world. Others see globalization as portending some dangers for the cultures of developing countries as they will end up being annihilated. Based on the premise that mass communication and mass media have led to cultural imperialism in the world, the essay uses the cases of music, television programming, television news and films to discuss how United States of America, especially, has dominated the cultures of other countries through the latter's consumption of American cultural products. Pivoted on the cultural imperialism theoretical framework, the discussion moved a step further by looking at the concept of cultural/media imperialism as Americanization of both the media and the cultural landscapes of the world and no more a generalization of Western countries dominating the cultures of developing countries-this is because some of the Western countries themselves have become victims of this phenomenon of Americanization. It is now therefore the issue of Americanization of the cultures of the world.
Globalization and Media Communication
Our world is frequently deemed a global village and Marshall McLuhan's (1967) vision of a 'global village' has increasingly been a reality with rapid changes made possible by the communication revolution-satellite and cable television, multi-national media and internet. Indeed, this has made our world a smaller one and nations, economies and cultures have become increasingly interdependent. But globalization of media is not a term of global nature. As Sparks has argued, no media is genuinely global in nature. Moreover, the audience of the so-called global media is 'too small, too rich and too English-speaking to be considered inclusive'. The audience remains largely stateoriented. But there is no denying the fact that the electric media and communication sector which ranges from telecommunication network to radio, television and film, have been most active in the current drive for globalization of production, markets and trade.
THE ROLE OF MASS COMMUNICATION IN MEDIA IMPERIALISM IN THE WORLD
Abstract Old and latest trends in discussions in the sphere of the role of mass communication in media and cultural imperialism have centred on cultural hegemony and cultural colonialism among other such lines of ideological debate. Some debates have also centred on globalization as the only way to spread development across the world. Others see globalisation as portending some danger for the cultures of the developing countries as they will end up being annihilated. Based on the hypothesis that mass communication and mass media has led to a cultural imperialism in the world, the essay uses the cases of music, television programming, television news and films to discuss how America especially has dominated the cultures of developing countries through their consumption of American cultural products. Pivoted on the cultural imperialism theoritical framework, the discussion moves a step further by looking at the concept of cultural/media imperialism as Americanization of both the media and the cultural landscapes of the world and no more a generalization of Western countries dominating the cultures of developing contries – this is because some of the Western countries themselves have become victims of this phenomenon of Americanization. It is now therefore the issue of Americanization of the cultures of the world.
Globalization and Media Policy
Premised on the fact that there are different globalizations going on today, this comprehensive study successfully integrates structural and symbolic analyses of communications and media policy in the conflicted spaces of the nation-state, trans-nation, and sub-nation. Chakravartty & Sarikakis’s remarkably systematic approach to media policy, technology, content, and civil society formation, fills in crucial details left behind by grand theory, including progressive postcolonial theory of global communication. In doing so, the book re-energizes the hackneyed field of international media studies and transforms it. John Nguyet Erni, City University of Hong Kong Media Policy and Globalization combines careful scholarship with a clear, accessible style that creatively integrates some of the best elements of critical theory. The book marks an important step in the development of media policy scholarship because it skilfully integrates political economic and cultural studies perspectives. It does an especially good job of placing research on state and gender theory into the centre of policy analysis. Vincent Mosco, Queen’s University, author of The Digital Sublime Media Policy and Globalization serves up an ambitious, readable, and concise synthesis of how the messy world-system of communication policy is described and pondered in the communications and media studies discipline. Global Media and Communication In addition to its well-structured analyses, the book is written in an easy, accessible manner and offers rich empirical material and useful case studies for teaching purposes. Cees J. Hamelink, Amsterdam/Brisbane, Publizistik This book presents many rich clues for us to look further at on-going policy debates. Those clues point us toward inclusion of a variety of national, non-national, international, regional, and civil players as well as their organic connections. For any researcher, graduate student, or upper-division undergraduate student interested in global media debate today, this book provides not only the most up-to-date references, but also a fresh way to look at multiple-level analytical levels of analysis. Atsushi Tajima, SUNY , Global Media Journal The ideas and explanation in this book are a very welcome antidote to the dominant discourse of the virtues of the market, new technologies and competition. The proponents of technological determinism have for the past 10 years asserted that greater audiovisual delivery capacity will automatically deliver diversity and pluralism and have sought to roll back virtually all audiovisual regulation. The authors describe well the valid political, social, economic and particularly cultural questions which demand an answer if the public interest is to be served in communications policy and the regulation which should flow from it. The authors rightly underline that the screen, large or small, is central to our democratic, creative, cultural and social life and that policy makers should give greater space to the views of civil society and parliamentarians interested in advancing the public interest. Rare is the attention paid to the realities of the digital divide as played out across the globe which provides important information for campaigners for greater technological redistribution and cultural diversity worldwide. Carole Tongue, Visiting Professor, University of the Arts, London, Former MEP spokesperson on public service broadcasting
Global Media Journal, 2002
An extended discussion and analysis of theoretical approaches to the study of international media diffusion and influences. Argues that previous paradigms of national and cultural hegemony or imperialism do not sufficiently account for late 20th and early 21st century global media flows and exchange, and that attention to the processes and implications of transnational commercialization leads to a more productive framework for the consideration of globally networked media form and content.
A Conceptual Perspective to Media: Cultural Globalization, Clash of Civilizations
2013
This paper discusses three different conceptual perspectives: cultural globalization, Samuel Huntington’s Clash of Civilizations, and Antonio Gramsci’s concept of hegemony to understand and analyze the increasing popularity of Turkish TV series in the Middle East, Balkans, and Eastern Europe. I scrutinize the potentials and pitfalls of these three approaches in order to examine the broad dissemination and successes of Turkish serials in those regions within the larger context of globalization. Consequently, this paper offers a conceptual framework that provides illumination for various significant analytical issues. Due to the circulation of media content among non-Western countries and constant flux of local and regional cultures, cultural goods such as television series do not function as the ideological apparatuses of the West on “the Rest.” The globalization is not merely a top-down Western project, but rather a process that is local in its effects, that requires consumer consen...