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Global Media Entertainment: A Critical Introduction von Artz, Lee (eBook)

  • Erscheinungsdatum: 09.02.2015
  • Verlag: Wiley-Blackwell
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Global Media Entertainment: A Critical Introduction

Balancing provocative criticism with clear explanations ofcomplex ideas, this student-friendly introduction investigates thecrucial role global entertainment media has played in the emergenceof transitional capitalism. Examines the influence of global entertainment media on theemergence of transnational capitalism, providing a framework forexplaining and understanding world culture as part of changingclass relations and media practices Uses action adventure movies to demonstrate the complexrelationship between international media political economy,entertainment content, global culture, and cultural hegemony Draws on examples of public and community media in Venezuelaand Latin America to illustrate the relations between governmentpolicies, media structures, public access to media, and mediacontent Engagingly written with crisp and controversial commentary toboth inform and entertain readers Includes student-friendly features such as fully-integratedcall out boxes with definitions of terms and concepts, and listsand summaries of transnational entertainment media
Lee Artz is Professor of Media Studies in the Departmentof Communication at Purdue University Calumet, where he has beenrecognized with a peer-reviewed award as University OutstandingScholar for his research and publications. He is the editor orauthor of several books, and is associate editor of the journal Democratic Communiqué .


    Format: ePUB
    Kopierschutz: AdobeDRM
    Seitenzahl: 280
    Erscheinungsdatum: 09.02.2015
    Sprache: Englisch
    ISBN: 9781118955468
    Verlag: Wiley-Blackwell
    Größe: 903 kBytes
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Global Media Entertainment: A Critical Introduction

Entertainment, Television, and Cultural Hegemony

Tell me a story. Make me laugh. Entertain me. From childhood on, humans share stories to inform, educate, and entertain. In every joke and pastime, lessons about social norms, values, and morals are shared. We have laws, but stories express why we have laws and what happens to those who disobey. Entertaining stories from Aesop's fables, fairytales, and the latest Disney animation express and evaluate good and evil.

In the twenty-first century the primary storytellers are global media, and "like stories told around the campfire, they promote and criticize some identities and kinds of social organization and celebrate others. In doing so they reflect the interests of the storyteller" (Machin & Van Leeuwen, 2007, p. 39). The stories circulated most widely are those created by consolidated international media: children's stories in cartoons, telenovelas, game shows, action-adventures, situation comedies, mysteries, anime, factual entertainment, sports, music, movies, and news. All of them are entertainment.

Global entertainment crosses national and cultural boundaries, promoting consumerism in theme and format, adjusting to local cultural norms and affecting the social order in many identifiable ways, some of which will be discussed in this book.

From the earliest media studies to contemporary concerns, media have been understood as central to society but not all have agreed on media's political or cultural effect, nor has there been agreement on the relationships between media and the rest of the social order. This book finds media to be part of our larger social order that has recognizable social class divisions. Such an approach challenges the accepted knowledge broadcast by contemporary media and protected by their academic admirers. I follow the Chilean novelist and social critic Ariel Dorfman (1983) in that I do not pretend to infallibility, but "feel it is my duty to profane the secular cathedral and wonder out loud, in the middle of the service that gathers the priests of knowledge, and the faithful to be enlightened" (p. 136) how do the architecture and icons of popular media become so worshipped and to what values and beliefs are we converted?

This is not an American phenomenon. Technological progress and growing competition push media corporations to expand their businesses nationally and internationally. Around the world, in Britain, Germany, India, Japan, Brazil, and everywhere commercial media predominate, media express cultural values, social norms, and even commonsense universal beliefs.

New global structures of production and distribution are altering daily life and cultures. Just as new social relations of production appear in leading capitalist enterprises, the economic operations and cultural contributions of global media have been transformed as well. For the average man and woman, consumption and consumer goods become means for expressing identity and lifestyle, particularly when occupational and economic roles lose their significance as sources of values in the face of popular culture and ubiquitous media presence and power.

With the advent of media deregulation, privatization, and commercialization, nations around the world have opened their media operations to transnational mergers, joint ventures and foreign direct investment (FDI). As part of the neoliberal drive to privatize everything, commercial enterprise dominates media in most countries. Privatized, commercialized media turn to advertising and subscription for profits, looking to reduce production costs at the same time. Not surprisingly, entertainment media is now the most prevalent media form in every country. Following deregulation, entertainment media in Europe took a quantum leap - from 93 to some 1,500 entertainment channels (according to Screen Dig

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