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This book, the first of its kind, brings together leading scholars from multiple perspectives in a serious dialogue about continuity and change in global media production and content. Looking at a wide swath of the world, these authors show the emergence of transnational collaboration in global television and film production across national borders that seem to transcend national cultures and identities. At the same time, traditional class analysis of such phenomena is reframed within the rise of myriad social movements for equality, democracy, human rights, and defense of the environment. What are the effects of media, local or global? Does the West continue to dominate or is cultural imperialism waning? With original chapters written by leading scholars from a variety of disciplines, this book will appeal to students and scholars interested in global media communication, cultural studies, and international political economy.

This edited volume addresses current challenges, trends and transformations in global communication governance. Exploring changes in the actors, issues, values and contexts of media and communications, it investigates the crossroads that media policy is facing and offers visions for the future. A diverse range of scholars and expert practitioners discuss what regulatory reforms and governing mechanisms are required to advance democratic participation and fundamental rights in platform societies.Organized around five sections, the volume considers the geopolitics of emerging communication orders; the changing roles of actors and stakeholders; the challenge of embedding rights and values in regulatory arrangements; the intersection of technology and policy; and the need to rethink epistemologies and methodologies for researching this field.Contributions from different disciplines and cultural backgrounds include provocative think pieces and longer analyses. All chapters are grounded in historically-aware understandings of contemporary transformations, while anticipating dynamics of our communication futures.

A comprehensive and critical introduction to understanding the Korean Wave (Hallyu) as a transnational media phenomenon.This book provides an accessible introduction to the Korean Wave—the rapid growth of local cultural industries and the global popularity of Korean popular culture over the past 30 years—providing historical, political, economic, and socio-cultural context to its initial rise and enduring popularity. Jin explores the transnational cultural flows of Hallyu across a variety of products and digital technologies—from television dramas, film, and K-pop to online games, and webtoons—and explains the process of cross-media convergence and the socio-political contexts behind the Hallyu phenomenon. He also explores how overseas fans and audiences advance K-pop fandom as social agents in different geo-cultural contexts. The book concludes by discussing if Hallyu can become a sustainable global popular culture beyond a fan-based regional cultural phenomenon. Each chapter features detailed contemporary case studies and discussion questions to enhance student engagement. This is essential reading for students of Media and Communication, Cultural Studies, Korean Studies, and Asian Studies, particularly those taking classes on popular culture and media, media and globalization, Korean popular culture, and East Asian culture.

Dieses Buch leistet einen Beitrag zum Verständnis der Bedeutung von Filmgenre-, Gattungs-, Stil- und Formatbezeichnungen. Es verfolgt das Ziel, einen umfassenden Überblick über die vielfältigen, oft wild wuchernden Begrifflichkeiten zu geben, die im Alltag gebräuchlich sind. Dabei beschreibt es in allgemeinverständlicher Sprache die wichtigsten Merkmale, die mit den jeweiligen Bezeichnungen verbunden sind, und arbeitet den Konsens hinsichtlich des dramaturgischen Aufbaus, der Geschichtsstruktur sowie der wiederkehrenden Ikonografie, Musik und Bildsprache heraus.Neben der Vermittlung grundlegender Informationen widmet sich das Buch auch Fragen, die aufgrund der Geläufigkeit der Begriffe oftmals als zu banal angesehen werden und klärt Detailfragen, wie etwa den Unterschied zwischen einem „Sozialdrama“ (engl. „Social Problem Film“) und einem „Social Drama“ (dt. „Gesellschaftsdrama“). Es fungiert somit als Überblick fürFilminteressierte jeder Art, insbesondere aber für jene, die beruflich mit dem Thema in Verbindung stehen.

An Introduction to Global Media for the Twenty-First Century provides a thorough introduction to the field of global media today. The book presents the key changes taking place as the global media landscape evolves, and the main theories of the field, that explain these developments.Tracing, first, the formative development of an international and global media landscape throughout the 20th century from the telegraph, television and film export, and transnational television to the Internet, the book then focuses on developments in the 21st century. This includes: the digitization of the global media and communications sector; the popularization of the Internet and digital infrastructure such as the smartphone and platforms; the emergence of global online media and services; the production and distribution of digital media content; and the exploitation of user data. Case studies illustrate key developments throughout the book.The book shows how the field is characterized by a continuity of critical concerns in relation to power, influence, and domination; media user empowerment and exploitation; and social and sustainable development and democratic conditions, as well as geopolitical shifts, in a global context.

Digitalisierung und technologischer Fortschritt verändern das menschliche Selbstverständnis. Während sich der Mensch in Abgrenzung zu Tier und Natur als kultiviertes und autonom handelndes Wesen definiert, steht er angesichts der zunehmenden Technologisierung nun vor der Frage: Was bedeutet Menschsein vor dem Hintergrund der neuen Technologien? Wie verändern sich die menschliche Lebenswelt, Verantwortungsstrukturen und Identitätskonzepte? Was können Menschen, was Technologien nicht können? Was macht den Menschen aus und wo wird er in Frage gestellt? Der Band bietet einen umfassenden Blick auf diese Fragestellungen. Im ersten Teil befassen sich Beiträge aus der Philosophie und Anthropologie mit dem Spannungsfeld Mensch-Maschine. Die anschließenden Beiträge eröffnen interdisziplinäre Perspektiven auf die technisierte Lebenswelt des Menschen in den Bereichen Kultur, Kommunikation und Bildung. Im letzten Teil des Bandes wird schließlich als Kontrapunkt das Menschsein in einer technisiertenWelt aus der Perspektive von Spiritualität und Pflege in den Blick genommen.

Spätestens seit den frühen Formationen einer auf Notendrucken basierenden Musikindustrie unterhalten musikferne Unternehmen Beziehungen zu Musik und ihren Akteur•innen. Damals wurden vornehmlich Kosmetik und Tabakprodukte in Notenbüchern beworben. Heute jedoch haben sich die Formen, bei denen Musik in den kommerziellen Aktivitäten musikferner Akteur•innen eine Rolle spielt, ausdifferenziert. Gleichzeitig hat der Markt für Aktivitäten wie Sponsoring oder Werbung an Volumen zugenommen. Hierbei spielen Marken eine besondere Rolle. Um Marken aufzubauen publizieren Unternehmen Musikmagazine, vertreiben Tonträger, organisieren und streamen Konzerte oder nehmen gar Künstler•innen mit eigenen Labels unter Vertrag. Gleichzeitig werden auch Künstler•innen und Bands durch die Musikindustrie immer stärker als Marken aufgebaut. Das Jahrbuch der GMM „Musik & Marken“ sondiert die Forschung zu Musik und Marken, versammelt empirische Befunde und zeigt neue Forschungsperspektiven in der Untersuchung von„Musik & Marken“ auf.

This book shows how transnational media operate in the contemporary world and what their impact is on film, television, and the larger global culture. Where a company is based geographically no longer determines its outreach or output. As media consolidate and partner across national and cultural boundaries, global culture evolves. The new transnational media industry is universal in its operation, function, and social impact. It reflects a shared transnational culture of consumerism, authoritarianism, cultural diversity, and spectacle. From Wolf Warriors and Sanju to Valerian: City of 1000 Planets and Pokémon, new media combinations challenge old assumptions about cultural imperialism and reflect cross-boundary collaboration as well as boundary-breaking cultural interpretation. Intended for students of global studies and international communication at all levels, the book will appeal to a wide range of readers interested in the way transnational media work and how that shapes our culture.

Der bisherige Fokus der TV-Serienforschung auf US-amerikanische Produktionen hat gemeinsam mit dem steten Aufstieg innovativer Serienformate aus der Romania zu einer großen Forschungslücke geführt. Der Sammelband versucht diese Leerstellen durch ausgewählte Überblicksbeiträge und Fallstudien zu schließen und zu weiterführenden Forschungen innerhalb der Literatur-, Kultur-, Medien- und Filmwissenschaften anzuregen.

'Coronavirus and the Strange Death of Truth'shows the links between Coronavirus and the globalisation of modernity. The book exposes the destruction of Freedom and Liberty through the Elites manipulation of Media, Social Media and Technology. The book calls for a departure from the Liberal model and a return to a path of Moral Virtue, Family and Community

Wie trägt man globales Denken in die Köpfe der Menschen? Wie bringt man sie dazu, sich auch den'fernsten Nächsten'gegenüber solidarisch zu verhalten? Wie macht man ihnen begreiflich, was es für das eigene Leben heißt, auf dem'Raumschiff Erde'unterwegs zu sein? Arno Peters (1916-2002) und Richard Buckminster Fuller (1895-1983) glaubten sich im Besitz von Antworten auf Fragen, die aktueller nicht sein könnten. Sie waren Welt-Bildner. Beide machten sich einen Namen mit Versuchen, mithilfe visueller Medien das Nachdenken über Globalität zu stimulieren – über planetarische Zustände, grenzüberschreitende Interdependenzen, interkulturelle Kommunikation, über supranationale Organisationen. David Kuchenbuch spannt einen Bogen von den Weltordnungsvisionen der 1940er Jahre bis zur heutigen Debatte um das Anthropozän. Zugleich Doppelbiografie und Medienrezeptionsgeschichte, verknüpft sein Buch die Geschichte des Globalismus mit der Geschichte der Politik der ersten Person im 20. Jahrhundert.

The fully updated fourth edition of this lively and accessible book argues for the central role of media in understanding and shaping globalization. By breaking down the economic, cultural, and political impact of media, and through a rich set of case studies, Jack Lule describes a divided global village, its destiny shaped by strife.

In this comprehensive volume, leading scholars of media and communication examine the nexus of globalization, digital media, and popular culture in the early 21st century.The book begins by interrogating globalization as a critical and intensely contested concept, and proceeds to explore how digital media have influenced a complex set of globalization processes in broad international and comparative contexts. Contributors address a number of key political, economic, cultural, and technological issues relative to globalization, such as free trade agreements, cultural imperialism, heterogeneity, the increasing dominance of American digital media in global cultural markets, the powers of the nation-state, and global corporate media ownership. By extension, readers are introduced to core theoretical concepts and practical ideas, which they can apply to a broad range of contemporary media policies, practices, movements, and technologies in different geographic regions of the world—North America, Europe, Africa, the Middle East, Latin America, and Asia. Scholars of global media, international communication, media industries, globalization, and popular culture will find this to be a singular resource for understanding the interconnected relationship between digital media and globalization.

This new book offers an insightful guide into the complex tapestry of global entertainment media markets. It features analyses and case studies from leading international media scholars, who explore the causes and effects of globalization upon this ever-evolving industry.There are still opposing and restraining forces to globalization processes taking place in media, and the global mediascape comprises international, regional and local markets, and global and local players, which in recent years have evolved at an uneven pace. By analyzing similarities and differences in a landscape where driving forces of globalization meet locally situated audiences and institutions, this volume unveils a complex, contested space comprising global and local players, whose success is determined by both their national and international dimensions. It guides its readers to the geographical and intellectual exploration of the international media landscape, analyzing the global and local media players and their modus operandi.Editor Paolo Sigismondi's insightful, engaging collection presents a compelling and novel approach to the analysis of global entertainment media. World Entertainment Media: Global, Regional and Local Perspectives is an ideal starting point for students and practitioners alike looking to build a solid understanding of the global mediascape, and a great resource for instructors and scholars in global media entertainment.

It is only since global media and digital communications became accessible to ordinary populations – with Telstar, jumbo jets, the pc and mobile devices – that humans have been able to experience their own world as planetary in extent. What does it mean to be one species on one planet, rather than a patchwork of scattered, combative and mutually untranslatable cultures? One of the most original and prescient thinkers to tackle cultural globalisation was Juri Lotman (1922-93). On the Digital Semiosphere shows how his general model of the semiosphere provides a unique and compelling key to the dynamics and functions of today's globalised digital media systems and, in turn, their interactions and impact on planetary systems. Developing their own reworked and updated model of Lotman's evolutionary and dynamic approach to the semiosphere or cultural universe, the authors offer a unique account of the world-scale mechanisms that shape media, meanings, creativity and change – both productive and destructive. In so doing, they re-examine the relations among the contributing sciences and disciplines that have emerged to explain these phenomena, seeking to close the gap between biosciences and humanities in an integrated'cultural science'approach.

Media Imperialism: Continuity and Change advances applied theoretical research on 21st century media imperialism. The volume includes established and emerging researchers in international communications who examine the geopolitical, economic, technological and cultural dimensions of 21st century media imperialism. The volume highlights and challenges how news, entertainment and social media uphold unequal power relations in the world. Written in an accessible style, this volume marries conceptual, theoretical sophistication, and concrete illustration with rich case studies and global examples. Chapters cover the complete media spectrum, from social media to Hollywood, to news and national propaganda in national and transnational analyses. Readers will find discussions that range from soft power and China to the USA's empire of the internet to the rise of “Chindia” in a post-American media world. The volume is essential reading for upper level undergraduate, postgraduate and research communities across a wide range disciplines in the social science and the humanities.

Global media expert Dal Yong Jin examines the nexus of globalization, digital media, and contemporary popular culture in this empirically rich, student-friendly book.Offering an in-depth look at globalization processes, histories, texts, and state policies as they relate to the global media, Jin maps out the increasing role of digital platforms as they have shifted the contours of globalization. Case studies and examples focus on ubiquitous digital platforms, including Facebook, YouTube, and Netflix, in tandem with globalization so that the readers are able to apply diverse theoretical frameworks of globalization in different media milieu. Readers are taught core theoretical concepts which they should apply critically to a broad range of contemporary media policies, practices, movements, and technologies in different geographic regions of the world – North America, Europe, Africa, Latin America, and Asia – with a view to determining how they shape and are shaped by globalization. End-of-chapter discussion questions prompt further critical thinking and research. Students doing coursework in digital media, global media, international communication, and globalization will find this new textbook to be an essential introduction to how media have influenced a complex set of globalization processes in broad international and comparative contexts.

With extraordinary transnational and transdisciplinary range, World Literature, Transnational Cinema, and Global Media comprehensively explores the genealogies, vocabularies, and concepts orienting the fields within literature, cinema, and media studies. Orchestrating a layered conversation between arts, disciplines, and media, Stam argues for their'mutual embeddedness'and their shared'in-between'territories. Rather than merely adding to the existing scholarship, the book builds a relational framework through the connectivities within literature, cinema, music, and media that opens up analysis to new categories and concepts, while crossing spatial, temporal, theoretical, disciplinary, and mediatic borders. The book also questions an array of hierarchies: literature over cinema; source novel over adaptation; feature film over documentary; erudite over vernacular culture; Western modernisms over'peripheral'modernisms; classical over popular music; written poetry over sung poetry, and so forth. The book is structured around the concept of the'commons,'forming a strong thread which links various struggles against'enclosures'of all kinds, with emphasis on natural, indigenous, cultural, creative, digital, and the transdisciplinary commons.World Literature, Transnational Cinema, and Global Media is ideal to further the theoretical discussion for those undergraduate and graduate departments in cinema studies, media studies, arts and art history, communications, journalism, and new digital media programs at all levels.

Globus, mundus, Planet, Welt: Um die vielfachen Vernetzungen zu beschreiben, die sich über Ländergrenzen, kulturelle und politische Machtbereiche oder alte mediale Hegemonien hinweg entwickeln, werden Denkfiguren und Bilder geprägt, in denen die'ganze Erde'gleichsam von außen gesehen wird. Ein Begriff, der diese unterschiedlichen Entwürfe ebenso fortschreibt wie reflektierbar macht, ist'das Planetarische'. In diesem Band geht es um die möglichen'Orte'und'Standpunkte des Planetarischen'in einem postglobalen Zeitalter.

What does the notion of the ‘global south'mean to media studies today?This book interrogates the possibilities of global thinking from the south in the field of media, communication, and cultural studies. Through lenses of millennial media cultures, it refocuses the praxis of the global south in relation to the established ideas of globalization, development, and conditions of postcoloniality.Bringing together original empirical work from media scholars from across the global south, the volume highlights how contemporary thinking about the region as theoretical framework ・ an emerging area of theory in its own right ・ is incomplete without due consideration being placed on narrative forms, both analogue and digital, traditional and sub-cultural. From news to music cultures, from journalism to visual culture, from screen forms to culture-jamming, the chapters in the volume explore contemporary popular forms of communication as manifested in diverse global south contexts.A significant contribution to cultural theory and communications research, this book will be of interest to scholars and researchers of media and culture studies, literary and critical theory, digital humanities, science and technology studies, and sociology and social anthropology.

The end of apartheid brought South Africa into the global media environment. Outside companies invested in the nation's newspapers while South African conglomerates pursued lucrative tech ventures and communication markets around the world. Many observers viewed the rapid development of South African media as a roadmap from authoritarianism to global modernity. Herman Wasserman analyzes the debates surrounding South Africa's new media presence against the backdrop of rapidly changing geopolitics. His exploration reveals how South African disputes regarding access to, and representation in, the media reflect the domination and inequality in the global communication sphere. Optimists see post-apartheid media as providing a vital space that encourages exchanges of opinion in a young democracy. Critics argue the public sphere mirrors South Africa's past divisions and privileges the viewpoints of the elite. Wasserman delves into the ways these simplistic narratives obscure the country's internal tensions, conflicts, and paradoxes even as he charts the diverse nature of South African entry into the global arena.

'Wasserman's book would surely be deemed as one of the most powerful articulations from the Global South, urging media professionals and scholars to rethink and recontextualize global journalism in this post-West, post-order, post-truth world.'--Anbin Shi, Tsinghua University The end of apartheid brought South Africa into the global media environment. Outside companies invested in the nation's newspapers while South African conglomerates pursued lucrative tech ventures and communication markets around the world. Many observers viewed the rapid development of South African media as a roadmap from authoritarianism to global modernity.

From epidemics in the 17th century and the Lisbon earthquake in 1755 to Guernica in World War II, the essays in this volume trace the development of the catastrophic imagination, relying heavily on pictorial media and different forms of staging. Catastrophe in its modern sense seems to be inextricably linked to its spectacular representation, be it on the stage, on screen or in popular amusement parks. But the modern relationship between catastrophe and spectacle is also increasingly confronting us with the unimaginable side of catastrophe, particularly with regard to the Holocaust and in more recent times to the daily experience of refugees. The essays in this volume elucidate images of the catastrophes that have inspired them by providing a textual commentary that makes it possible to reconsider how the spectacular and the catastrophic are interrelated. Thus, the essays not only deal with the emergence of the modern spectacular imagination of catastrophe in terms of the history of both discourse and media, they also present themselves as a critique of catastrophe, one based on close readings of the scenes and images in question.

The fully updated third edition of this lively and accessible book argues for the central role of media in understanding globalization. Indeed, Jack Lule convincingly shows that globalization could not have occurred without media. From earliest times, humans have used media to explore, settle, and globalize their world. In our day, media has made the world progressively “smaller” as nations and cultures come into increasing contact. Decades ago Marshall McLuhan prophesied that media technology would transform the world into a “global village.” Slowly, fitfully, his vision is being fulfilled. The global village, however, is not the blissful utopia that McLuhan predicted. Nor, in a more modern formulation, is the world flat, with playing fields leveled and opportunities for all. Instead, Lule argues, globalization and media are combining to create a divided world of gated communities and ghettos, borders and boundaries, suffering and surfeit, beauty and decay, surveillance and violence. By breaking down the economic, cultural, and political impact of media, and through a rich set of case studies from around the globe, the author describes a global village of Babel—invoking the biblical town punished for its vanity by seeing its citizens scattered, its language confounded, and its destiny shaped by strife.

Winner of the Next Generation Indie Book AwardWinner of the Chinese American Librarian Association Best Book Award China's entry into the World Trade Organization in 2001 ignited a race to capture new global media audiences. Hollywood moguls began courting Chinese investors to create entertainment on an international scale—from behemoth theme parks to blockbuster films. Hollywood Made in China examines these new collaborations, where the distinctions between Hollywood's “dream factory” and Xi Jinping's'Chinese Dream'of global influence become increasingly blurred. With insightful policy analysis, ethnographic research, and interviews with CEOs, directors, and film workers in Beijing, Shanghai, and Los Angeles, Aynne Kokas offers an unflinching look at China's new role in the global media industries. A window into the partnerships with Chinese corporations that now shape Hollywood, this book will captivate anyone who consumes commercial media in the twenty-first century.

Motion pictures are made, not mass produced, requiring a remarkable collection of skills, self-discipline, and sociality—all of which are sources of enormous pride among Hollywood's craft and creative workers. The interviews collected here showcase the ingenuity, enthusiasm, and aesthetic pleasures that attract people to careers in the film and television industries. They also reflect critically on changes in the workplace brought about by corporate conglomeration and globalization. Rather than offer publicity-friendly anecdotes by marquee celebrities, Voices of Labor presents off-screen observations about the everyday realities of Global Hollywood. Ranging across job categories—from showrunner to make-up artist to location manager—this collection features voices of labor from Los Angeles, Atlanta, Prague, and Vancouver. Together they show how seemingly abstract concepts like conglomeration, financialization, and globalization are crucial tools for understanding contemporary Hollywood and for reflecting more generally on changes and challenges in the screen media workplace and our culture at large. Despite such formidable concerns, what nevertheless shines through is a commitment to craftwork and collaboration that provides the means to imagine and instigate future alternatives for screen media labor.

Die Landschaft der internationalen Medienkonzerne hat sich im letzten Jahrzehnt drastisch verändert. Neue Wissens- und Datenkonzerne wie Google, Apple und Facebook greifen tief in das Geschäft traditioneller Branchenriesen wie Disney oder Bertelsmann ein. Dabei hat sich der Umsatz der 50 größten Medienkonzerne der Welt in den vergangenen zehn Jahren verdoppelt. Ihre Macht ist so groß wie nie zuvor: Medien- und Datenunternehmen beeinflussen politische Berichterstattung und produzieren eine nie dagewesene Fülle von Unterhaltungsformaten; sie bestimmen, was im Radio gespielt wird, und entscheiden über die Platzierung von Suchergebnissen, sie sammeln persönliche Daten und vermarkten Benutzerprofile; und sie kontrollieren Lehrpläne und akademische Fachzeitschriften. Ihre Lenker und Manager zählen zu den bestverdienenden Angestellten – Milliardäre und Millionäre mit exzellenten Kontakten zum politischen Estab­lishment. Lutz Hachmeister und Till Wäscher porträtieren die 50 größten Medien- und Wissenskonzerne der Welt und beschreiben dabei Konzernlenker, Geschäftsstrategien und historische Grundlagen.

Der Band vereint Studien zu transnationalen Medienlandschaften, die das Erkenntnisinteresse auf kinematographische Vernetzungen jenseits fixer Zentren richten. Im Fokus steht eine Analyse populärer Traditionen aus postkolonialer Perspektive, die transnationalen Film in den Kontext einer globalen Medienkultur setzt, wobei europäischen Koproduktionen und reziproken Austauschbeziehungen mit lateinamerikanischen, asiatischen und afrikanischen Kinematographien besondere Aufmerksamkeit zukommt.

Today's global media sustains a potent new environmental consciousness. Paradoxically, it also serves as a far-reaching platform that promotes the unsustainable consumption ravaging our planet. Patrick Murphy musters theory, fieldwork, and empirical research to map how the media communicates today's many distinct, competing, and even antagonistic environmental discourses. The media draws the cultural boundaries of our environmental imagination--and influences just who benefits. Murphy's analysis emphasizes social context, institutional alignments, and commercial media's ways of rendering discussion. He identifies and examines key terms, phrases, and metaphors as well as the ways consumers are presented with ideas like agency and the place of nature. What emerges is the link between pervasive messaging and an'environment'conjured by our media-saturated social imagination. As the author shows, today's complex, integrated media networks shape, frame, and deliver many of our underlying ideas about the environment. Increasingly--and ominously--individuals and communities experience these ideas not only in the developed world but in the increasingly consumption-oriented Global South.

At free ebook version of this title is available through Luminos, University of California Press's new open access publishing program. Visit www.luminosoa.org to learn more.Precarious Creativity examines the seismic changes confronting media workers in an age of globalization and corporate conglomeration. This pathbreaking anthology peeks behind the hype and supposed glamor of screen media industries to reveal the intensifying pressures and challenges confronting actors, editors, electricians, and others. The authors take on pressing conceptual and methodological issues while also providing insightful case studies of workplace dynamics regarding creativity, collaboration, exploitation, and cultural difference. Furthermore, it examines working conditions and organizing efforts on all six continents, offering broad-ranging and comprehensive analysis of contemporary screen media labor in such places as Lagos, Prague, Hollywood, and Hyderabad. The collection also examines labor conditions across a range of job categories that includes, for example, visual effects, production services, and adult entertainment. With contributions from such leading scholars as John Caldwell, Vicki Mayer, Herman Gray, and Tejaswini Ganti, Precarious Creativity offers timely critiques of media globalization while also intervening in broader debates about labor, creativity, and precarity.

Global media and advances in technology have profoundly affected the way people experience events. The essays in this volume explore the dimensions of contemporary spectacles from the Arab Spring to spectatorship in Hollywood. Questioning the effects that spectacles have on their observers, the authors ask: Are viewers robbed of their autonomy, transformed into depoliticized and passive consumers, or rather are they drawn in to cohesive communities? Does their participation in an event—as audiences, activists, victims, tourists, and critics—change and complicate the event itself? Spectacle looks closely at the permeable boundaries between the reality and fiction of such events, the methods of their construction, and the implications of those methods.

Now available in a fully revised and updated ninth edition, World News Prism provides in-depth analysis of the changing role of transnational news media in the 21st-century. Includes three new chapters on Russia, Brazil, and India and a revised chapter on the Middle East written by regional media experts Features comprehensive coverage of the growing impact of social media on how news is being reported and received Charts the media revolutions occurring throughout the world and examines their effects both locally and globally Surveys the latest developments in new media and forecasts future developments

Conventional wisdom views globalization as a process that heralds the diminishing role or even'death'of the state and the rise of transnational media and transnational consumption. Global Media and National Policies questions those assumptions and shows not only that the nation-state never left but that it is still a force to be reckoned with. With contributions that look at global developments and developments in specific parts of the world, it demonstrates how nation-states have adapted to globalization and how they still retain key policy instruments to achieve many of their policy objectives. This book argues that the phenomenon of media globalization has been overstated, and that national governments remain key players in shaping the media environment, with media corporations responding to the legal and policy frameworks they deal with at a national level.

Media events have been described as broadcasts that involve an engaged audience viewing the same event simultaneously; though this definition is still relevant, the way media outlets interact with and react to their audiences has greatly changed. This is in part due to the emergence of social media platforms which allow a participatory audience, something that genre-specific television channels now rely on. Because these genre-specific, 24-hour channels seek to hook viewers with hyperbolic presentation and the illusion of large media events, the original definition must be adapted. Global Perspectives on Media Events in Contemporary Society seeks to re-define the role of the media in relaying information about current events within a modern context. Determining what constitutes as and the proper presentation of a media event is of great importance given the ubiquity of media consumption. This book approaches the topic from historical, ceremonial, and globally cultural perspectives while addressing news, sports, and other significant current events. It is a vital resource for students and teachers of communication, media, and journalism, professionals in the media industry, policy makers, and sociologists.

Worlding brings ideas about'virtual'places and societies together with perceptions about the'real'world in an era of mounting global uncertainty. As mass media and the Internet consume ever-increasing portions of our lives, are we becoming disengaged from face-to-face human interaction and real-world concerns? Or is the virtual world actually bringing people closer together and making them more involved with social issues? Worlding argues that the'virtual'and the'real'are profoundly interconnected, often in ways we don't fully appreciate. Drawing on sociology, cultural studies, philosophy, media analysis, and technology studies, Worlding makes the argument that virtual experience and social networking can be vital links to utopian visions and an appreciation of the world's diversity.

The book brings together experts from Media and Communication Studies with Postcolonial Studies scholars to illustrate how the two fields may challenge and enrich each other. Its essays introduce readers to selected topics including »Media Convergence«, »Transcultural Subjectivity«, »Hegemony«, »Piracy« and »Media History and Colonialism«. Drawing on examples from film, literature, music, TV and the internet, the contributors investigate the transnational dimensions in today's media, engage with local and global media politics and discuss media outlets as economic agents, thus illustrating mechanisms of power in postcolonial and neo-colonial mediascapes.

In an interactive and densely connected world, transnational communication has become a central feature of everyday life. Taking account of a variety of media formats and different regions of the world, Adrian Athique provides a much-needed critical exploration of conceptual approaches to media reception on a global scale. Engaging both the historical foundations and contemporary concerns of audience research, Athique prompts us to reconsider our contemporary media experience within a transnational frame. In the process, he provides valuable insights on culture and belonging, power and imagination. Beautifully written and strongly argued, Transnational Audiences: Media Reception on a Global Scale will be essential reading for students and teachers of global media, culture and communications.

What happened when Sesame Street and Big Brother were adapted for African audiences? Or when video games Final Fantasy and Assassins'Creed were localized for the Spanish market? Or when Sherlock Holmes was transformed into a talking dog for the Japanese animation Sherlock Hound? Bringing together leading international scholars working on localization in television, film and video games, Media Across Borders is a pioneering study of the myriad ways in which media content is adapted for different markets and across cultural borders. Contributors examine significant localization trends and practices such as: audiovisual translation and transcreation, dubbing and subtitling, international franchising, film remakes, TV format adaptation and video game localization. Drawing together insights from across the audiovisual sector, this volume provides a number of innovative models for interrogating the international flow of media. By paying specific attention to the diverse ways in which cultural products are adapted across markets, this collection offers important new perspectives and theoretical frameworks for studying localization processes in the audiovisual sector.For further resources, please see the Media Across Borders group website (www.mediaacrossborders.com), which hosts a ‘localization'bibliography; links to relevant companies, institutions and publications, as well as conference papers and workshop summaries.

The 2012 smash'Gangnam Style'by the Seoul-based rapper Psy capped the triumph of Hallyu, the Korean Wave of music, film, and other cultural forms that have become a worldwide sensation. Dal Yong Jin analyzes the social and technological trends that transformed South Korean entertainment from a mostly regional interest aimed at families into a global powerhouse geared toward tech-crazy youth. Blending analysis with insights from fans and industry insiders, Jin shows how Hallyu exploited a media landscape and dramatically changed with the 2008 emergence of smartphones and social media, designating this new Korean Wave as Hallyu 2.0. Hands-on government support, meanwhile, focused on creative industries as a significant part of the economy and turned intellectual property rights into a significant revenue source. Jin also delves into less-studied forms like animation and online games, the significance of social meaning in the development of local Korean popular culture, and the political economy of Korean popular culture and digital technologies in a global context.

Global Media Giants takes an in-depth look at how media corporate power works globally, regionally, and nationally, investigating the ways in which the largest and most powerful media corporations in the world wield power. Case studies examine not only some of the largest media corporations (News Corp., The Microsoft Corporation) in terms of revenues, but also media corporations that hold considerable power within national, regional, or geolinguistic contexts (Televisa, The Bertelsmann Group, Sony Corporation). Each chapter approaches a different corporation through the lens of economy, politics, and culture, giving students and scholars a thoughtful and data-driven guide with which to interrogate contemporary media industry power.

Media Events: A Critical Contemporary Approach proposes an interdisciplinary and multicultural approach of Dayan and Katz's theory of media events (1992) by applying it to contemporary situations. The contributing authors come from a range of countries (UK, USA, Mexico, Germany, Finland, Italy, Greece, Portugal, Ukraine) and analyse the theory of media events from different perspectives, incorporating social media and offering a re-positioning of Dayan and Katz's theory of media events. By bringing new perspectives into this field, the proposed volume is an important contribution as it grounds the intervention and rethinking of the theory into further empirical research. This volume has the potential to function as a'cross-generational'link between one of the'early classics'of media and communication studies on the one hand and the present generation of researchers on the other.

The fully updated second edition of this lively and accessible book argues for the central role of media in understanding globalization. Indeed, Jack Lule convincingly shows that globalization could not have occurred without media. From earliest times, humans have used media to explore, settle, and globalize their world. In our day, media has made the world progressively “smaller” as nations and cultures come into increasing contact. Decades ago Marshall McLuhan prophesied that media technology would transform the world into a “global village.” Slowly, fitfully, his vision is being fulfilled. The global village, however, is not the blissful utopia that McLuhan predicted. Nor, in a more modern formulation, is the world flat, with playing fields leveled and opportunities for all. Instead, Lule argues, globalization and media are combining to create a divided world of gated communities and ghettos, borders and boundaries, suffering and surfeit, beauty and decay, surveillance and violence. By breaking down the economic, cultural, and political impact of media, and through a rich set of case studies from around the globe, the author describes a global village of Babel—invoking the biblical town punished for its vanity by seeing its citizens scattered, its language confounded, and its destiny shaped by strife.

Based on a series of case studies of globally distributed media and their reception in different parts of the world, Imagining the Global reflects on what contemporary global culture can teach us about transnational cultural dynamics in the 21st century. A focused multisited cultural analysis that reflects on the symbiotic relationship between the local, the national, and the global, it also explores how individuals'consumption of global media shapes their imagination of both faraway places and their own local lives. Chosen for their continuing influence, historical relationships, and different geopolitical positions, the case sites of France, Japan, and the United States provide opportunities to move beyond common dichotomies between East and West, or United States and “the rest.” From a theoretical point of view, Imagining the Global endeavors to answer the question of how one locale can help us understand another locale. Drawing from a wealth of primary sources—several years of fieldwork; extensive participant observation; more than 80 formal interviews with some 160 media consumers (and occasionally producers) in France, Japan, and the United States; and analyses of media in different languages—author Fabienne Darling-Wolf considers how global culture intersects with other significant identity factors, including gender, race, class, and geography. Imagining the Global investigates who gets to participate in and who gets excluded from global media representation, as well as how and why the distinction matters.

Adopting a truly global, theoretical and multidisciplinary perspective, Media Pluralism and Diversity intends to advance our understanding of media pluralism across the globe. It compares metrics that have been developed in different parts of the world to assess levels of, or threats to, media pluralism.

Balancing provocative criticism with clear explanations of complex ideas, this student-friendly introduction investigates the crucial role global entertainment media has played in the emergence of transitional capitalism. Examines the influence of global entertainment media on the emergence of transnational capitalism, providing a framework for explaining and understanding world culture as part of changing class relations and media practices Uses action adventure movies to demonstrate the complex relationship between international media political economy, entertainment content, global culture, and cultural hegemony Draws on examples of public and community media in Venezuela and Latin America to illustrate the relations between government policies, media structures, public access to media, and media content Engagingly written with crisp and controversial commentary to both inform and entertain readers Includes student-friendly features such as fully-integrated call out boxes with definitions of terms and concepts, and lists and summaries of transnational entertainment media

« Révolution Facebook » dans les pays arabes, émergence de grands groupes industriels du Global media, traitement médiatique permanent des crises et des conflits… les médias sont devenus incontournables pour comprendre les mutations et les évolutions contemporaines. Outils d'intelligence collective et collaborative, mais aussi de contrôle, d'influence et de domination, les médias ont acquis une véritable dimension « géopolitique » que vient explorer cet ouvrage novateur.Après avoir présenté les concepts, la méthodologie et les réflexions actuelles sur la géopolitique des médias, la première partie met en évidence l'impact de leur globalisation sur la recomposition des interdépendances entre sociétés. Ensuite sont abordés les rapports entre mondialisation, rivalités de pouvoir et médias, qui révèlent à la fois la prédominance américaine et les utilisations mises en oeuvre par les pays émergents. Enfin est traitée la place des médias dans les relations internationales et les conflits, depuis leur exploitation dans le champ d'action militaire au XIXe siècle, aux nouvelles rivalités du cyberespace.