Beyond media imperialism: Assymetrical interdependence and cultural proximity

Straubhaar, Joseph

doi:10.1080/15295039109366779

Cited by 594 publications

(381 citation statements)

References 15 publications

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“…As noted above, Russian programs are not often sold in the global marketplace, and this is no doubt due to the production of series with a narrowly national appeal. Sales of Russian programs that are later voiced over or subtitled certainly exist, but are typically limited to culturally proximate countries like Ukraine, Belarus, and Kazakhstan (Straubhaar, 1991). For the most part, Russian series, particularly police procedurals or military dramas, are so culturally specific that they do not even appear outside of Russia.…”

Section: The Odorless Kitchenmentioning

confidence: 99%

Russian Sitcoms: From Post-Soviet Copycats to Aspiring Global Players

Brassard

2017

Pacla

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Russian sitcoms have gone through a series of rapid changes since their introduction following the end of the Cold War. The genre was initially met with skepticism in the post-Soviet period. Owing primarily to Russian culture's lack of familiarity with the genre early attempts to localize it failed to attract significant audiences. Only once the television channel STS, with significant help from Sony Pictures Television, began working to bring adapted American sitcoms to Russia did the genre start to resonate with viewers. The first popular sitcom on Russian television was an adaptation of CBS' The Nanny. The success of that series led to the production of numerous other similar programs. Since the early 2000s, Russian sitcoms have proceeded rapidly through three phases: localization, hybridization, and cultural odorlessness. This paper traces the development of the genre by examining three programs: My Fair Nanny, Daddy's Girls and The Kitchen. Each of these programs marks the beginning of a new phase in the development the Russian sitcom from localization, the creation of original Russian series and programs aimed at the global market for formats. The paper also looks at the role that STS and Sony bring the genre to Russia.

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Section: The Odorless Kitchenmentioning

confidence: 99%

Russian Sitcoms: From Post-Soviet Copycats to Aspiring Global Players

Brassard

2017

Pacla

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“…Well-known studies by Ang (1985) on American soap opera "Dallas" in among Dutch audience found that they are actively interpreting and making meanings of the show. Straubhaar (1991) criticized the cultural imperialism thesis for viewing the flow of culture in a linear direction from West to East. In proving his point, his study found that transnational cultural flows through the media also occurs in countries among audience who share some form of geo-cultural attributes in those television programmes.…”

Section: Cultural Globalization and Its Debates On Identitymentioning

confidence: 99%

Local-Global Media Images: Mediating Notions of Hope and Change Among Rural Youths in Sabah

Karim¹,

Mariappan²,

Peters³

et al. 2016

JKMJC

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This article is about identity and lifestyles formation among rural youths in Sabah through their use of the global-local media images in the midst of living in remote places with little socio-economic activities. The key issue here is to identify to what extent globalization have reached into the lives of rural youths and how these developments have shaped their identity. Findings presented are a combination of quantitative and qualitative data that has been collected over a span of two years beginning 2013. In terms of their media consumption pattern, globalizations have indeed penetrated into the lives of rural youths where almost 70 percent of them are said to have enjoyed a variety of Asian and Western television programs. However, in an interview with 40 informants, out of 38 media images shown, only one girl picked images of a K-pop all girls group as representing who she is. Rather, it was media images of U.S president Barack Obama, Disneyland, Japan and Eiffel Tower that was frequently selected as representing their identity. The reason for this is because these images mediate notions of 'hope' and 'change' for these youths, who experienced social exclusion. Thus, the main issue concerning globalization, is not about cultural imperialism but how rural youths appropriated global cultures from the media to communicate their local condition in line with Kraidy's (2002: 17) notion of 'cultural hybridity' as a "communicative practice". Rural youths may appropriate global media content, but it is used to articulate their hope for a better future. sejauh mana globalisasi telah menyerap masuk ke dalam kehidupan belia luar bandar dengan aktiviti sosio-ekonomi yang terhad dan bagaimana senario ini telah mempengaruhi pembentukan identiti mereka. Dapatan kajian diperolehi merangkumi gabungan data kuantitatif dan kualitatif yang dikutip selama dua tahun bermula 2013. Dari segi pola penggunaan media mereka, globalisasi media jelas kelihatan telah menembusi kehidupan belia luar bandar di mana 70 peratus dikenalpasti menggemari pelbagai program televisyen dari Asia dan Barat. Berdasarkan 38 imej-imej media yang ditunjukkan, hanya seorang responden wanita sahaja daripada keseluruhan 40 responden yang ditemubual memilih imej kumpulan wanita K-pop sebagai mewakili identiti mereka. Imej-imej daripada media global seperti Presiden Amerika Syarikat Barack Obama, Disneyland, Jepun dan Eiffel Tower yang lebih kerap dipilih oleh responden sebagai mewakili identiti mereka. Antara sebabnya ialah kerana imej-imej tersebut menyelitkan konsep 'harapan' serta 'perubahan' bagi belia-belia ini yang mengalami masalah peminggiran sosial. Apa yang boleh dicerap di sini termasuklah isu utama mengenai globalisasi bukanlah soal imperialisme budaya tetapi lebih kepada bagaimana belia luar bandar menggunapakai budaya-budaya global dari media untuk mengkomunikasikan keadaan setempat mereka. Ini sejajar dengan pandangan Kraidy (2002: 17) mengenai 'cultural hybridity' sebagai "amalan komunikasi" di mana belia luar bandar menerima-pakai ...

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“…In the beginning, concepts and perspectives derived from political economy (see Straubhaar, 1991;Thussu, 2007), cultural studies (see Iwabuchi, 2002;Olson, 1999;Singhal & Udornpim, 1997;Wang & Yeh, 2005) and media economics (see Albarran, 2010;Rohn, 2011;Sánchez-Tabernero, 2006) allowed for a good point of departure. But after a while it became evident that we had overlooked other disciplines and perspectives that had also shed light on how creative production had been transformed or modified crossing cultural or temporal barriers.…”

Section: An Introduction To Cultural Transductionmentioning

confidence: 99%

“…Moreover, many of the terms and concepts proposed by the various authors seemed complementary and, in our eyes, the articulation of said concepts, bringing them together, provided a more nuanced and comprehensive picture of the subject. That is how we decided to create a general framework that could encompass all of the terminology and theoretical perspectives that had been developed, in order to provide a common ground for analysis of the processes of modification of cultural products as they crossed borders and markets.Our point of departure had been the flow and contraflow of cultural products (Thussu, 2007), which had been developed following a critique of the single-flow of television products (Tunstall, 1977) levied by Straubhaar (1991) andSinclair (1996). These critiques looked at the production and distribution of television programs in Latin America and presented a more complex landscape of the exchange of audiovisual products in terms of an asymmetrical interdependence and the establishment of geo-linguistic regions.…”

mentioning

confidence: 99%

“…Our point of departure had been the flow and contraflow of cultural products (Thussu, 2007), which had been developed following a critique of the single-flow of television products (Tunstall, 1977) levied by Straubhaar (1991) andSinclair (1996). These critiques looked at the production and distribution of television programs in Latin America and presented a more complex landscape of the exchange of audiovisual products in terms of an asymmetrical interdependence and the establishment of geo-linguistic regions.…”

mentioning

confidence: 99%

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An introduction to Cultural Transduction

Uribe-Jongbloed¹,

Espinosa-Medina²

2017

Pacla

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A few years back, while we were studying a variety of cases where media products had been changed or altered to suit specific markets, we discovered that there was a great amount of literature on the topic. The various authors we encountered talked about many different aspects of the process and provided a vocabulary that was developed to answer the particular concerns they had found when addressing their specific subject. However, as we pierced through pages of books and articles, we discovered that many of the terms were different, but the general meanings they were giving them were similar. Moreover, many of the terms and concepts proposed by the various authors seemed complementary and, in our eyes, the articulation of said concepts, bringing them together, provided a more nuanced and comprehensive picture of the subject. That is how we decided to create a general framework that could encompass all of the terminology and theoretical perspectives that had been developed, in order to provide a common ground for analysis of the processes of modification of cultural products as they crossed borders and markets.Our point of departure had been the flow and contraflow of cultural products (Thussu, 2007), which had been developed following a critique of the single-flow of television products (Tunstall, 1977) levied by Straubhaar (1991) andSinclair (1996). These critiques looked at the production and distribution of television programs in Latin America and presented a more complex landscape of the exchange of audiovisual products in terms of an asymmetrical interdependence and the establishment of geo-linguistic regions. 1 orcid.org/0000-0002-9415-7628. Universidad Jorge Tadeo

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Beyond media imperialism: Assymetrical interdependence and cultural proximity

Cited by 594 publications

References 15 publications

Russian Sitcoms: From Post-Soviet Copycats to Aspiring Global Players

Russian Sitcoms: From Post-Soviet Copycats to Aspiring Global Players

Local-Global Media Images: Mediating Notions of Hope and Change Among Rural Youths in Sabah

An introduction to Cultural Transduction

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