Adapting US Transnational Television Channels to a Complex World: From Cultural Imperialism to Localization to Hybridization

Straubhaar, Joseph; Duarte, Luiz Guilherme

doi:10.5040/9780755698776.ch-010

Cited by 8 publications

(6 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Within a world capitalist system, we find national and regional media firms gaining considerable market power against the giant global firms that entered the local markets via satellite and cable television technologies. (Straubhaar & Duarte, 2005) Lastly, looking back to the local television within globalization, they still had the power to attract local audiences with local content in the previous decades. In such cases, local production houses focus on understanding the deep cultural demands of their local audience and making global television to be 'unsuccessful' in several places.…”

Section: Americanization In Asiamentioning

confidence: 99%

Netflix: Cultural Diversity or Cultural Imperialism?

Salsabila¹

2021

RUBIKON: JTAS

View full text Add to dashboard Cite

The global rise of Netflix as subscription video-on-demand (SVOD) has emerged along with its capitalization of film, television, and technology industry for the audience's convenience. It replaces the interest of local television with its claim of 'a global TV network' with cultural diversity in its contents. However, the term cultural diversity itself should be questioned whether it means to leave the American cultural power or it is only to claim themselves as a global company where global identity is represented in their identity to attract a wider audience. By using transnational approach, this study finds the use of cultural diversity merely to fulfill the demand of the American audience, with several globalization consequences in Netflix Original series, especially in non-American series. Those consequences are the homogenization in European-made Netflix series, where they appear to be fully Americanized with American lifestyle or American perspective, and heterogenization in Asian-made Netflix series with its collaboration of Asian culture and American popular culture. The claim of a 'global TV network' itself does not leave the American cultural power. Instead, they are taking advantage of the cultural power to retain the existing audiences and to fascinate more audiences. Therefore, the dependency of non-American producers in relying on Netflix platform as a way to reach global audience, even the use of Americanization to their works for global audience's satisfaction, confirms the cultural power of America in its ability to bring economic advancement to other countries.

show abstract

Section: Americanization In Asiamentioning

confidence: 99%

Netflix: Cultural Diversity or Cultural Imperialism?

Salsabila¹

2021

RUBIKON: JTAS

View full text Add to dashboard Cite

show abstract

“…Closely related to this, the term ‘glocalization’ is used to convey ‘the tailoring and advertising of goods and services on a global or near-global basis to increasingly differentiated local and particular markets’ (Robertson, 1995: 28). Similarly, the notions of ‘localization’ (Straubhaar and Duarte, 2005) and ‘hybridity’ (Garcia Canclini, 1995; Tunstall, 1978) are used to analyse the multiple layers of culture that media products consist of, through the mixing of new global elements, and traditional local ones. Meanwhile, the notion of ‘cultural transduction’ approaches the processes of modification and redefinition that cultural products sustain as they cross borders and markets (Uribe-Jongbloed and Espinosa-Medina, 2017).…”

Section: Theoretical Approaches To Communication Flowsmentioning

confidence: 99%

Global media flows: A qualitative review of research methods in audio-visual flow studies

Iordache

Audenhove

Loisen³

2018

International Communication Gazette

View full text Add to dashboard Cite

Recent developments in the online distribution and consumption of audio-visual content have brought relevant changes to the transnational flow of content. Thus, the need for a theoretical and methodological rejuvenation of flows research has been signalled. The aim of the present study is to analyse the different flow studies throughout time, following a series of parameters such as research question, methodology and scale of study. This article is a systematic literature review of 30 flow studies on film and television programmes, published between 1974 and 2014. The methods used by the studies are brought into focus and discussed thoroughly, in light of the method of data collection, the type of data used and the method of data analysis. Main findings show an evolution towards more detailed research, to include more contextual factors, an increased use of secondary data, as well as more focused regional and comparative studies.

show abstract

“…While recent studies focusing on transnational television have demonstrated that 'imposing uniform cultural standards on global audiences' (Curtin, 2005: 155) has been highly unsuccessful, globally branded transnational children's channels are usually mentioned as the exceptions (e.g. Chalaby, 2005aChalaby, , 2008Havens, 2006;Sinclair, 2005;Straubhaar and Duarte, 2005). The locals can 'strike back' (Banerjee, 2002) and media conglomerates have often had to pay a higher than expected price to please regional audiences and protectionist governments, but when it comes to children's television 'the set of forces that are materially and culturally specific to societies that fall within' the company's 'footprints' (Curtin, 2005: 155) are barely present.…”

Section: 'Masters Of the Children's Television Universe'mentioning

confidence: 99%

“…The 'practices of adaptation' (Straubhaar and Duarte, 2005) or level of localization of a transnational television channel is related, among other factors, to its primary programming genre (Havens, 2006(Havens, , 2007. Children's television networks relying heavily on cartoons have successfully resisted 'localization' for a number of reasons:…”

Section: 'Masters Of the Children's Television Universe'mentioning

confidence: 99%

Transnational Children’s Television

Lustyik

2010

International Communication Gazette

View full text Add to dashboard Cite

/ This article examines children’s television in the context of the debate on media globalization by positioning Viacom-owned Nickelodeon, currently beamed into more than 400 million households, as a quintessential type of transnational television that is critical to understanding the contemporary landscape of media industries and cultures worldwide. The author argues that the majority of globally branded children’s television networks, in comparison to other types of transnational television often associated with multidirectional media flow, tend to be merely clones of the original US versions. However, this argument is intended to move beyond traditional references to either cultural or American imperialism. By counterposing two locales, the article uses Nickelodeon’s operations in New Zealand and Australia as a case study to critically examine the corporate practice of localization employed by a US transnational children’s multimedia brand in different media markets.

show abstract

Adapting US Transnational Television Channels to a Complex World: From Cultural Imperialism to Localization to Hybridization

Cited by 8 publications

References 0 publications

Netflix: Cultural Diversity or Cultural Imperialism?

Netflix: Cultural Diversity or Cultural Imperialism?

Global media flows: A qualitative review of research methods in audio-visual flow studies

Transnational Children’s Television

Contact Info

Product

Resources

About