Global, Regional, Transnational, Translocal

Abstract

The globalization of media industries has proceeded by a process of accumulation or sedimentation of layers or spaces that burst upon the world media stage but gradually take their place as parts, often very important parts, of complex industries such as television. One of the first ways that this process became visible, historically, was through the growth of different kinds of television to fill different spaces. To continue this theoretical reexamination, several key moments from the example of Brazilian network television are examined and theorized. It is a prominent case of a cultural industries' growth from import substitution to increasing national self-sufficiency and then to transitional and global prominence as an exporter.

Leveraging Dynamic Heterogeneous Networks to Study Transnational Issue Publics. The Case of the European COVID-19 Discourse on Twitter

“…Despite the inarguably transnational potential of social media communication, scholarly research has questioned the more substantial effects with respect to patterns of social connectedness and mass media publics that both still seem to be predominantly structured along national lines (Straubhaar, 2015 ; Bailey et al, 2020 ). While more cosmopolitically oriented elite actors—which are evidently overrepresented in most Twitter samples—practice transnational communication, the majority of users is still oriented toward the mainstream media and their national media logic.…”

Cartoon Animals vs. Actual Russians

“…8 By this, he means that people prefer to consume media from a culture similar to their own. 9 This concept means that Russian cultural products would only be successful in the countries with which it shares cultural ties since audiences from other societies are likely to find elements of Russian culture, such as lifestyle and gender norms off-putting. In contrast, given its relative ubiquity globally, Western and particularly British and American media texts suffer less from issues of cultural proximity.…”

Revisiting Latin American Media Democratisation Theories and the Populist Factor

“…A critical comment to both the dependency and cultural imperialism perspectives, and to the centrality of Western cultural dominance, is that new centres of media production have emerged since the 1990sespecially in Latin Americathus defying to some degree the communication power of the United States (Schiller 1991;Straubhaar 2015). Locally, countries such as Mexico, Colombia, Argentina, and Brazil in particular have been able to challenge Anglo-American cultural production with, for example, locally-produced telenovelas and local broadcast comedies leading the way (Straubhaar 1991;.…”

“…Yet some scholars would argue that, for example, the case of Brazil's telenovelas exportation represents a form of "reverse media imperialism" (Schiller 1991, 22). Others contend that the counter-flow and apparent nondependency of parts of Brazilian and other Latin American cultural and media industries ultimately mirror a "creolization of U.S. cultural products" (1991,22) and have not been able to incorporate forms of production and of representation that would enhance local diversity and plurality, but domination insteadwhich is the essential trait of dependency and cultural imperialism (Straubhaar 2015).…”