Localization, diversification and heterogeneity: Understanding the linguistic and cultural logics of Indian new media

Abstract

In this article, I foreground the granular movements that determine the ubiquitous nature of India’s new media economy created by the advent of streaming media platforms and the emergence of regional online content creators in India. I argue that the increasing preference of Indian audiences to consume online content in their own language has led to a demand for ‘regional’ content, whereby streaming platforms and online creators are increasingly investing in ‘non-Hindi’ and ‘non-English’ language content to cater to the linguistically and culturally diverse Indian population. Through a primary focus on online content creation practices in Bengali and Marathi languages, the article explores their ‘local’, ‘regional’, ‘transnational’ and ‘global’ appeal, and subsequent blurring of boundaries between ‘regionalization’ and ‘localization’. The remainder of the article focuses on the emerging diaspora of regional online content creators who are adopting distinct content strategies to develop relationships with online communities based on commonalities of language and culture.

Peripheral Creator Cultures in India, Ireland, and Turkey

“…Peripheral creators experiencing linguistic and algorithmic precarities develop distinct strategies to increase their visibility and thereby their income. Building on previous research on creators' survival strategies (Mehta, 2020;Nayaka & Reddy, 2022), we demonstrate that our cohort of creators try to surmount linguistic, cultural, and/or algorithmic barriers by engaging in content creation beyond borders. This can be exemplified by several strategies such as collaborating with creators who produce content in different languages, targeting diasporic communities, making content having wider appeal, and diversifying genres.…”

“…We argue that India, Turkey, and Ireland emerge as a digital periphery wherein the production and distribution relations among international companies, transnational media conglomerates, and local elites marginalize the cultural production in SME and its economic potential despite its size and scale. For example, Indian regional language creators struggle for visibility and audience as they face overwhelming competition with the Hindi-language content market (Hardy, 2010; Ingle, 2017; Mehta, 2020). Despite being among the top TV drama exporters in the world (Kaptan & Algan, 2020), the SME industries in Turkey have a peripheral status as creators, unlike the legacy media industries, do not have access to professional translation and dubbing services, appealing predominantly to Turkish-speaking audiences, and hindering their ability to compete in the global SME market.…”

Impact of social media on artistic ecosystems: An overview of DIY music cultures in India

“…And yet, as Mehta (2019a) argues based on his research in India that creators prefer “to deal with precarious creativity on social media platforms than having to struggle with creative hegemony and closed-door networks of Indian traditional media” (p. 1). Kumar (2016) based on interviews with YouTube content creators make a similar assertion.…”

Where are the Women? Gendered Indian Digital Production Cultures Post #metoo

“…However, previous studies, including mine, have shown how internet-based media companies' dynamic work culture encourages a greater diversity of talent and content (Cunningham and Craig, 2019;Mehta, 2020). Frustrated with the lack of opportunities due to nepotism, select Indian creators and digital media companies such as TVF, Bhuvan Bam, and Dice Media use social media popularity and metrics as a starting point to grow their media businesses (Mehta, 2019b).…”