Week Ten Lecture: Media, Culture, And Globalization

Week Ten Lecture Media Culture Globalizationnote Please Click On

Please click on all supplemental links as part of this lecture; the videos and articles provided will assist with your understanding of this chapter.

Key Questions: 1. What is globalization and how do media relate to it? 2. Who are the global media companies and how do they deal with globalization? 3. What are the areas of concern - related to media and globalization - and how do they relate to McLuhan's "global village" proposition?

Themes: 10.1 Dimensions of Media Globalization 10.2 Four Areas of Concern: Ownership, Content, Regulation & User Access 10.3 Global Flows & Nollywood

Paper For Above instruction

Globalization has become one of the most defining phenomena shaping contemporary media culture, integrating various regions, societies, and economies through interconnected networks of communication, transportation, and trade. Its relationship with media is multifaceted, influencing how cultural products are created, distributed, and consumed worldwide. Media act as both agents and recipients of globalization, facilitating the flow of ideas, images, sounds, and cultural values across borders. This complex interaction leads to both homogenization and hybridity in global cultures, challenging Marshall McLuhan's optimistic vision of the "global village."

Understanding Globalization and Media

Globalization, in its broadest sense, refers to the process by which regional economies, societies, and cultures become interconnected through a global network of communication, trade, and ideas. In relation to media, it signifies the expansion of communication technologies that transcend geographical boundaries, allowing for instant access to diverse cultural expressions. As noted by Croteau and Hoynes (2019), this process includes two main components: the changing role of geography and physical distance, and the proliferation of culturally diverse content accessible globally. Media facilitate the exchange and intermingling of cultural products, leading to hybrid genres such as "world music" or collaborative international productions.

Global Media Companies and Their Strategies

The global media landscape is largely dominated by conglomerates based primarily in the Western, especially American, context. Major corporations such as The Walt Disney Company exemplify this dominance through their extensive international holdings, content distribution channels, and influence over global media markets (Croteau & Hoynes, 2019). These conglomerates often prioritize profit and reach, leading to concerns over cultural imperialism and the erosion of local media industries. Nonetheless, the internet has introduced a more democratized space for media production and consumption, although disparities remain due to infrastructural limitations and language barriers. While some argue the internet offers a more horizontal power structure, the digital divide persists, limiting access in many regions of the world (Norris, 2001).

Concerns Regarding Media and Globalization

There are significant concerns about the impact of media globalization in four key areas: ownership, content, regulation, and user access. Ownership concentration in a few multinational conglomerates raises questions about diversity, diversity of perspectives, and cultural representation. As Croteau and Hoynes (2019) explain, decision-making remains concentrated in the hands of powerful corporations that often promote Western, especially U.S., values and narratives, which can overshadow local cultures.

The concept of cultural imperialism suggests that Western media exerts influence over other nations, promoting individualism and consumerism, often at the expense of local traditions and collectivist values. However, critics argue that this perspective underestimates local agency and the resilience of indigenous cultures. The hybridization of cultures, where local and global elements blend into new forms, challenges simplistic notions of cultural domination (Noble, 2009).

Regulation is another pressing concern, as governments attempt to balance the protection of cultural diversity with the realities of a globalized media environment. International bodies like UNESCO have advocated for policies promoting cultural expression, but effective implementation varies. Additionally, the digital divide continues to limit access to the benefits of media globalization, reinforcing inequalities between regions and social groups (Warschauer, 2003).

Flows and Nollywood: Alternative Media Dynamics

Arjun Appadurai's (1996) theory of "flows" provides an insightful framework to understand the intricate patterns of global media distribution beyond the notion of cultural imperialism. His classification of dominant (e.g., Hollywood), transnational (e.g., Bollywood), and geo-cultural flows (e.g., Nollywood) highlights the diversity of media influences and the agency of local industries in shaping global perceptions.

The Nigerian film industry, Nollywood, exemplifies a geo-cultural flow that influences regional markets and contributes to a unique cultural identity. The documentary "This is Nollywood" (2006) showcases how local filmmakers adapt and produce films that resonate with regional audiences, despite the dominance of Hollywood and other Western media. Nollywood's success underscores the importance of cultural agency and the potential for local media industries to thrive within a globalized context (Ukadike, 2002).

Moreover, Nollywood demonstrates that global flows are not unidirectional; instead, they are characterized by reciprocal influences where local industries can influence global perceptions and even generate transnational markets. This dynamic counters the notion of cultural imperialism and illustrates the complexity of power relations in global media production.

Conclusion

Media globalization presents both opportunities and challenges. While it enables the dissemination of diverse cultural products and fosters intercultural dialogue, it also raises concerns about ownership concentration, cultural homogenization, regulation, and unequal access. Theories such as Arjun Appadurai's flows provide nuanced frameworks for understanding these complex dynamics, emphasizing the roles of both structure and agency. Nollywood exemplifies how local industries can navigate and shape global media landscapes, highlighting the importance of cultural agency amidst global processes. Ultimately, embracing a critical media literacy approach allows us to better understand the intricate relationships between media, culture, and power in an increasingly interconnected world.

References

  • Appadurai, A. (1996). Modernity at Large: Cultural Dimensions of Globalization. University of Minnesota Press.
  • Croteau, D., & Hoynes, W. (2019). Media & Society: A Critical Perspective. Sage Publications.
  • Noble, G. (2009). Hybrid Cultures and the Cinema of Postmodernity. Screen, 50(2), 197-210.
  • Norris, P. (2001). Digital Divide: Civic Engagement, Information Poverty, and the Internet Worldwide. Cambridge University Press.
  • Ukadike, N. F. (2002). Nollywood: The Resilience of Nigerian Cinema. Africa Today, 48(1), 65-82.
  • Warschauer, M. (2003). Technology and Social Inclusion: Rethinking the Digital Divide. MIT Press.
  • Marshall McLuhan, & Quentin Fiore (1967). The Medium Is the Message. Bantam Books.
  • Adelson, A. (2005). Hollywood out of Focus: American Cinema and the Third World. Routledge.
  • James, C. (2008). Globalization and Cultural Flows. In S. R. Rose (Ed.), World Cultural Heritage: Impact of Globalization (pp. 112-130). Routledge.
  • Keane, M. (2008). Cultural Hybridity and Its Discontents. Cultural Studies, 22(4), 543–563.

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