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Download Global Entertainment Media: Between Cultural Imperialism and by Tanner Mirrlees PDF

By Tanner Mirrlees

A serious cultural materialist creation to the research of worldwide leisure media.

In Global leisure Media, Tanner Mirrlees undertakes an research of the possession, creation, distribution, advertising, exhibition and intake of world motion pictures and tv exhibits, with an eye fixed to political economic climate and cultural experiences. between different subject matters, Mirrlees examines:

  • Paradigms of world leisure media resembling cultural imperialism and cultural globalization.
  • The enterprise of leisure media: the constitution of capitalist culture/creative industries (financers, manufacturers, vendors and exhibitors) and traits within the worldwide political financial system of leisure media.
  • The "governance" of worldwide leisure media: kingdom and inter-state media and cultural rules and rules that govern the construction, distribution and exhibition of leisure media and permit or abate its cross-border flow.
  • The new overseas department of cultural exertions (NICL): the cross-border construction of leisure through cultural employees in asymmetrically interdependent media capitals, and monetary and cultural matters surrounding runaway productions and co-productions.
  • The financial motivations and textual layout gains of worldwide well known leisure types akin to blockbuster occasion movies, television codecs, glocalized way of life manufacturers and synergistic media.
  • The cross-cultural reception and results of television indicates and films.
  • The world-wide-web, digitization and convergence culture.

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Additional resources for Global Entertainment Media: Between Cultural Imperialism and Cultural Globalization

Example text

Most entertainment media travels from “North” to “South” and from “West” to “East” without much of a diverse counter-flow or reciprocal exchange (Nordenstreng and Varis 1974; Varis 1984). Many countries import US entertainment media, but the US does not import many TV shows and films made elsewhere. In an important study of this imbalance, Varis (1984) found that in Africa, 40 percent of TV programs were imported, with 50 percent of those imports coming from the US. A largely one-way media flow between the US and other countries is caused by a number of factors.

For Cabral, “imperialist domination, denying to the dominated people their own historical process, necessarily denies their cultural process” (143). Like Fanon, Cabral did not put forth a romantic account of local cultures as timeless, essentially unified, or devoid of internal problems, contradictions, and inequalities, but instead envisaged demands for cultural autonomy and projections of collective cultural difference as a countervailing force to the complete assimilation and homogenization of the colonized.

Nevertheless, in every period, a core state exists and benefits economically and politically from an unequal and exploitative exchange relationship with semi-peripheral and peripheral states. Between 1500 and 1800, the first truly world system of capitalist market relationships was established by Western colonial states—Portugal, Spain, Holland, and later, France and England. “Empire” was a Western state policy, practice, and ideology. Core states organized the world system to serve their own economic and geopolitical interests.

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