BlackBerry’s Rise and Fall A PIONEER IN smartphones, BlackBerry (formerly known as Research in Motion, or RIM) was the undis-puted industry leader in the early 2000s. Corporate IT managers preferred BlackBerry. Its devices allowed us-ers to receive e-mail and other data in real time glob-ally, with enhanced security features. For executives, a BlackBerry was not just a tool to increase productiv-ity—and to free them from their laptops—but also an important status symbol. As a consequence, by 2008 BlackBerry’s market cap had peaked at $75 billion. Yet within a short four years, by 2012, this lofty valuation had fallen to just $7 billion; and, by 2019, it stood at a mere $4 billion. Since its peak, BlackBerry’s market cap had fallen by almost 95 percent. What happened? Jim Balsillie, a Canadian and BlackBerry’s longtime co-CEO, unsurprisingly calls ice hockey his favorite sport. He likes to quote Wayne Gretzky, whom many consider to be the best ice hockey player ever: “Skate to where the puck is going to be, not to where it is.” Alas, BlackBerry did not follow that advice and failed to con-sider the impact of two important factors in its external environment: technological and sociocultural. Let’s start with a discussion of the technological fac-tor that led to BlackBerry's decline. The introduction of the Apple iPhone in 2007 changed the game in the mobile device industry. Equipped with a camera, the iPhone’s slick design offered a touchscreen user inter-face and virtual keyboard. The iPhone connected seam-lessly to cellular networks and Wi-Fi. Combined with thousands of apps via the Apple iTunes store, the iPhone provided a powerful user experience, or as the late Steve Jobs said, “the internet in your pocket.” BlackBerry engineers and executives initially dis-missed the iPhone as a mere toy with poor security fea-tures. Everyday users thought differently. They were less concerned about making sure the device’s software was encrypted for security than they were about the user ex-perience, which was fun and diverse. The iPhone al-lowed users to text, surf the web, take pictures, play games, and write and send e-mails. Although Black-Berry devices were great in productivity applications, such as receiving and responding to e-mail via typing on its iconic physical keyboard, they provided a poor mo-bile web browsing experience. The second external development that helped erode BlackBerry’s dominance was sociocultural. Initially, mobile devices were issued top-down by corporate IT departments. The only available device for executives was a company-issued BlackBerry. This made it easy for IT departments to ensure network security. Con-sumers, however, began to bring their personal iPhones (and other mobile devices with an Apple-like user expe-rience) to work and used them for corporate communi-cation and productivity applications. This bottom-up groundswell known as BYOT (“bring your own tech-nology”) forced corporate IT departments to open The t ...

1. BlackBerry’s Rise and Fall
A PIONEER IN smartphones, BlackBerry (formerly known as
Research in Motion, or RIM) was the undis-puted industry
leader in the early 2000s. Corporate IT managers preferred
BlackBerry. Its devices allowed us-ers to receive e-mail and
other data in real time glob-ally, with enhanced security
features. For executives, a BlackBerry was not just a tool to
increase productiv-ity—and to free them from their laptops—
but also an important status symbol. As a consequence, by 2008
BlackBerry’s market cap had peaked at $75 billion. Yet within a
short four years, by 2012, this lofty valuation had fallen to just
$7 billion; and, by 2019, it stood at a mere $4 billion. Since its
peak, BlackBerry’s market cap had fallen by almost 95 percent.
What happened? Jim Balsillie, a Canadian and BlackBerry’s
longtime
co-CEO, unsurprisingly calls ice hockey his favorite sport. He
likes to quote Wayne Gretzky, whom many consider to be the
best ice hockey player ever: “Skate to where the puck is going
to be, not to where it is.” Alas, BlackBerry did not follow that
advice and failed to con-sider the impact of two important
factors in its external environment: technological and
sociocultural. Let’s start with a discussion of the technological
fac-tor that led to BlackBerry's decline. The introduction of the
Apple iPhone in 2007 changed the game in the mobile device
industry. Equipped with a camera, the iPhone’s slick design
offered a touchscreen user inter-face and virtual keyboard. The
iPhone connected seam-lessly to cellular networks and Wi-Fi.
Combined with thousands of apps via the Apple iTunes store,
the iPhone provided a powerful user experience, or as the late
Steve Jobs said, “the internet in your pocket.” BlackBerry
engineers and executives initially dis-missed the iPhone as a
mere toy with poor security fea-tures. Everyday users thought
differently. They were less concerned about making sure the

2. device’s software was
encrypted for security than they were about the user ex-
perience, which was fun and diverse. The iPhone al-lowed users
to text, surf the web, take pictures, play games, and write and
send e-mails. Although Black-Berry devices were great in
productivity applications, such as receiving and responding to
e-mail via typing on its iconic physical keyboard, they provided
a poor mo-bile web browsing experience. The second external
development that helped erode
BlackBerry’s dominance was sociocultural. Initially, mobile
devices were issued top-down by corporate IT departments. The
only available device for executives was a company-issued
BlackBerry. This made it easy for IT departments to ensure
network security. Con-sumers, however, began to bring their
personal iPhones (and other mobile devices with an Apple-like
user expe-rience) to work and used them for corporate
communi-cation and productivity applications. This bottom-up
groundswell known as BYOT (“bring your own tech-nology”)
forced corporate IT departments to open The two PESTEL
factors—technological and socio-cultural—set BlackBerry back
in the smartphone mar-ket. Unlike Gretzky, it failed to skate in
the direction that the puck was headed and remained instead in
its current position, that is, focused on its existing cus-tomer
base of corporate IT departments and govern-ment. Although it
attempted to promote some product modifications later, they
were too little, too late. By then Apple was the innovation
driver in the smart-phone industry, bringing out more advanced
iPhone models and enhancing the usefulness of its business and
productivity apps. Ten years after the iPhone was introduced,
Apple
has sold more than 1 billion iPhones globally, directly driving
more than two-thirds of its annual revenues, which stood at a
whopping $265 billion in 2018. Mean-while, BlackBerry sold its
iconic line of smartphones, including its BlackBerry brand
name, to TCL Commu-nication, a Chinese electronics company.
The original BlackBerry company pivoted away from consumer

3. electronics to enterprise software and the internet of things.
Let’s think about the rapid progress in mobile com
Consumer preferences changed quickly once the iPhone and
later the iPad were introduced. Professionals brought their own
Apple or other devices to work in-stead of using company-
issued BlackBerries. Although the Canadian technology
company made a valiant effort to make up lost ground with its
new BlackBerry 10 oper-ating system and several new models,
it was too late.
DISCUSSION QUESTIONS
1. What made BlackBerry so successful initially in the
smartphone industry?
2. What role did external factors play in BlackBerry’s demise?
Which external factors were most potent, and why?
3. What could BlackBerry’s strategic leaders have done
differently to address the external factors you identified in
Question 2? Be specific.
Spreading and accessing culture around the world is not always
as straightforward as you might think. The resources for this
module talk about limits to global access of popular culture and
how global access to popular culture can bond communities
together. On one side, there are corporate, copyright, and
financial issues that support the idea of geo-blocking. On the
other side, there is a case for dispelling geo-blocks so that
popular culture can act as a bond by sharing a narrative across
national boundaries. Weigh the merits of both sides of the
argument. It might help to think of a specific artifact/expression
as an example. Post your own explanation of geo-blocking and
then argue either for or against it.
Note: Your examples of popular culture artifacts/expressions
should fall under one or more of these categories:
· Music
· Music videos
· Movies

4. · Episodic moving image: TV shows
· Fashion
· Advertising
· Animations
· Printed material
MC3003: Access to Popular Culture – Explain factors that
influence access to popular culture.
Written Response Submission Form
Your Name: First and last
Your E-Mail Address: Your email hereInstructions
Write your responses where it reads “Enter your response here.”
Write as much, as needed, to satisfy the requirements indicated.
Each item contains the Rubric, which will be used to evaluate
your responses.
Item 1
Governments, regardless of political system, can exercise
control over whether content is considered appropriate or
inappropriate. Sometimes this decision is based on confirming
and enforcing community standards. Governments can enforce
standards that adhere to governmental policy instead of taking
public opinion into account in establishing those standards.
Compare one example of the United States government’s role in
regulating content with one example of governmental regulation
in another area of the world. In describing each example,
consider the role of free speech, whether regulation of popular
culture content is an infringement on free speech, and why or
why not. (300–350 words) Your Response
Enter your response here.Rubric

5. 0
Not Present
1
Needs Improvement
2
Meets Expectations
Module 1: Government Policy and/or Censorship
Compare one example of the United States government’s role in
regulating content with one example of governmental regulation
in another area of the world. In describing each example,
consider the role of free speech, whether regulation of popular
culture content is an infringement on free speech, and why or
why not. (300–350 words)
Learning Objective 1.1 – Explain differences in government
roles with regard to regulating content and the relationship of
such regulation to freedom of speech.
Response is missing.
Response is a vague, inaccurate, and/or incomplete explanation
of differences in government roles with regard to regulating
content and the relationship of such regulation to freedom of
speech.
Response is a clear, accurate, and complete explanation of
differences in government roles with regard to regulating
content and the relationship of such regulation to freedom of
speech.Item 2
In 2004, singer Janet Jackson’s nipple was broadcast on live
television for a millisecond. Using this specific example,
describe the circumstances of the incident, decide if the Federal
Communication Commission’s (FCC) involvement with the
incident was appropriate, or unnecessarily punitive, and if so, to
whom. Conclude with explaining why you have chosen your
position. (250–300 words).
Your Response
Enter your response here.Rubric

6. 0
Not Present
1
Needs Improvement
2
Meets Expectations
Module 1: Government Policy and/or Censorship
Using this specific example, describe the circumstances of the
incident, decide if the FCC’s involvement with the incident was
appropriate, or unnecessarily punitive, and if so, to whom.
Conclude with explaining why you have chosen your position.
(250–300 words)
Learning Objective 1.2 – Explain actions of the FCC related to
a specific modern popular culture incident.
Response is missing.
Response is a vague, inaccurate, and/or incomplete explanation
of FCC actions related to a specific modern popular culture
incident.
Response is a clear, accurate, and complete explanation of FCC
actions related to a specific modern popular culture incident.
Item 3
Popular culture artifacts/expressions have the power to cross
borders and create bonds between different cultures. In order to
fund the production of popular culture artifacts/expressions
such as movies, production companies control the distribution
and licensing of popular culture around the world through the
use of technologies like geo-blocking as well as marketing and
strategic business decisions.
Select either A or B (below) and write a brief persuasive
argument demonstrating that the stance you have chosen is the
correct approach to global distribution and licensing. Be sure to
include a brief and basic description of geo-blocking in your
response.
1. The business practice of controlling global distribution of

7. popular culture prevents people from different nations and
regions from a greater understanding of others and should
cease.
1. The business practice of controlling global distribution of
popular culture is a necessity as it provides profit and revenue
for the continued production of cultural artifacts/expressions.
(250–300 words)Your Response
Enter your response here.Rubric
0
Not Present
1
Needs Improvement
2
Meets Expectations
Module 2: Global Distribution and Licensing
Select either A or B (below) and write a brief persuasive
argument demonstrating that the stance you have chosen is the
correct approach to global distribution and licensing. Be sure to
include a brief and basic description of geo-blocking in your
response. (250–300 words)
Learning Objective 2.1 – Explain and take a well thought-out
stance on geo-blocking in the context of global distribution and
licensing.
Response is missing.
Response is a vague, inaccurate, and/or incomplete explanation
of a stance on geo-blocking in the context of global distribution
and licensing.
Response is a clear, accurate, well thought-out, and complete
explanation of a stance on geo-blocking in the context of global
distribution and licensing.
Item 4
The European Union (EU) is a group of 28 countries (as of this

8. writing) that have entered into agreements that include trade,
currency, and economic issues. These agreements are intended
to balance the needs of individual countries while creating a
powerful global economic force. Discussions have just begun
that focus on creating a single digital content market between
the member countries. Explain whether you believe that ending
copyrighting and geo-blocking within the EU is a good or bad
idea and why. (200–250 words)Your Response
Enter your response here.Rubric
0
Not Present
1
Needs Improvement
2
Meets Expectations
Module 2: Global Distribution and Licensing
Explain whether you believe that ending copyrighting and geo-
blocking within the EU is a good or bad idea and why? (200–
250 words)
Learning Objective 2.2 – Explain a rationale for or against
ending copyrighting and geo-blocking within a specific area of
the world
Response is missing.
Response is a vague, inaccurate, and/or incomplete rationale for
or against ending copyrighting and geo-blocking within a
specific area of the world.
Response is a clear, accurate, and complete rationale for or
against ending copyrighting and geo-blocking with in a specific
area of the world.
Item 5
When considering accessing popular culture, people tend to
think about whether they can stream a particular popular culture
artifact on their device, be it a television, tablet, or smartphone.

9. However, there are challenges to access that occur long before
wondering if a streaming service has a favorite song or
television show. Describe three infrastructure challenges to
popular culture access and at least one solution to each that
might be available to overcome these challenges. 250–300
words.Your Response
Enter your response here.Rubric
0
Not Present
1
Needs Improvement
2
Meets Expectations
Module 3: Infrastructure Challenges
Describe three infrastructure challenges to popular culture
access and at least one solution to each that might be available
to overcome these challenges. (250–300 words)
Learning Objective 3.1 – Describe infrastructure challenges and
solutions related to accessing popular culture.
Response is missing.
Response is a vague, inaccurate, and/or incomplete description
of infrastructure challenges and solutions related to accessing
popular culture.
Response is a clear, accurate, and complete description of
infrastructure challenges and solutions related to accessing
popular culture.
Item 6
The term digital divide refers to the gap between those who
have access to digital content and those who do not. There are
several factors that create a digital divide. Explain two factors
that contribute to the digital divide and suggest a solution for
each. (250–300 words) Your Response
Enter your response here.Rubric

10. 0
Not Present
1
Needs Improvement
2
Meets Expectations
Module 3: Infrastructure Challenges
Explain two factors that contribute to the digital divide and
suggest a solution for each. (250–300 words)
Learning Objective 3.2 – Explain factors that contribute to the
digital divide and solutions.
Response is missing.
Response is a vague, inaccurate, and/or incomplete explanation
of factors that contribute to the digital divide and solutions.
Response is a clear, accurate, and complete explanation of
factors that contribute to the digital divide and solutions.
Item 7
Reality television is a type of episodic storytelling but the story
is intended to focus on the experiences of participants who are
not professional performers. The idea of reality television is to
create a situation and a series of challenges that place people in
competition with each other. There are many different structures
to reality shows. Some are more successful than others.
Describe the format or structure of one reality television show
and then explain why it might or might not appeal to both
global and local audiences. (200–250 words)Your Response
Enter your response here.Rubric

11. 0
Not Present
1
Needs Improvement
2
Meets Expectations
Module 4: Corporate Interests and the Distribution of Popular
Culture
Describe the format or structure of one reality television show
and then explain why it might or might not appeal to both
global and local audiences. (200–250 words)
Learning Objective 4.1 – Describe reality show
formats/structures.
Response is missing.
Response is a vague, inaccurate, and/or incomplete description
of a format or structure of a specific reality show.
Response is a clear, accurate, and complete description of a
format or structure of a specific reality show.
Learning Objective 4.2 – Explain why reality show
formats/structures may or may not appeal to both global and
local audiences.
Response is missing.
Response is a vague, inaccurate, and/or incomplete explanation
of why a specific reality show format of structure may or may
not appeal to both global and local audiences.
Response is a clear, accurate, and complete explanation of why
a specific reality show format of structure may or may not
appeal to both global and local audiences.Item 8
The Disney Company is a film production and distribution
powerhouse. One of the most successful series of Disney movies
falls into the Disney Princess genre. Even though the stories
upon which these films are adapted are drawn from around the
world, these films send messages on social issues like gender

12. expectations and social and economic class that are uniquely
American. The power of The Disney Company to distribute their
princess films worldwide implies that the company advocates
the position on gender and social and economic class that is
portrayed in the films for a global audience.
Consider whether this messaging on a global basis is a good
way to influence other regions of the world to adopt American
gender expectations or if this is a form of cultural imperialism
that is insensitive to long traditions of differing gender norms.
State your position and develop a persuasive argument to
explain your rationale. (200–250 words) Your Response
Enter your response here.Rubric
0
Not Present
1
Needs Improvement
2
Meets Expectations
Module 4: Corporate Interests and the Distribution of Popular
Culture
State your position and develop a persuasive argument to
explain your rationale.
(200–250 words)
Learning Objective 4.3 – Defend a stance on corporate global
messaging related to gender expectations and social and
economic class.
Response is missing.
Defense of a stance on corporate global messaging related to
gender expectations and social and economic class is vague,
inaccurate, and/or incomplete.
Defense of a stance on corporate global messaging related to
gender expectations and social and economic class is clear,

13. accurate, and complete.
References
Provide a citation for each resource you used to w rite your
responses to this Assessment. The following citations have been
provided as examples:
Magazine Article: Menard, L. (2015). Pulp’s big moment: How
Emily Bronte met Mickey Spillane. The New Yorker, 90(42),
62–69.
TED Talk: TEDx Talks. (2013, July 15). Why pop
culture?:Alexandre O. Philippe at TEDxMileHigh [Video file].
Retrieved from
https://www.youtube.com/watch?v=u_3UYncNwz4
Web Resource: Federal Communications Commission Consumer
Help Center. (n.d.). Obscene, indecent, and profane broadcasts.
Retrieved July 5, 2018, from
https://www.fcc.gov/consumers/guides/obscene-indecent-and-
profanebroadcasts
Mastery Rubric
In order to achieve mastery of this Competency, you must
achieve a “2” on every rubric row in addition to meeting the
additional expectation indicated in the Mastery Rubric.
Mastery Rubric
No
Yes
Exceeds Expectations: In-Depth Analysis
Learning Objective - Analyze and use examples from multiple,
relevant, quality sources to explain factors that influence access
to popular culture.
Responses to the items do not use a variety of quality sources

14. and appropriate examples from multiple, relevant sources to
demonstrate a thorough understanding of influences that impact
access to popular culture.
Responses to the items use a variety of quality sources and
appropriate examples from multiple, relevant sources to
demonstrate a thorough understanding of influences that impact
access to popular culture.
Professional Skills Building
The faculty Assessor will provide feedback based on the
following Professional Skills: Written Communication and
Information Literacy. Although the feedback is here to inform
the development of your skills, it is not a barrier to achieving
the Competency, unless the writing is too poor to be able to
score the content of the Assessment. Review the rubric and
check your work based on the learning objectives listed. If you
are concerned that your writing will not meet these expectations
yet, reach out to your Faculty Subject Matter Expert (SME) so
he or she can work with you to further develop this important
professional skill.
It is highly recommended that you use this opportunity to
practice these important skills in the context of this Competency
Assessment in order to receive feedback about your current
level of proficiency.
Professional
Skills Building
0
Not Present
1
Needs Improvement
2
Meets Expectations

15. Written Communication: Write with clarity, coherence, and
purpose.
Written Communication (WC) 1.1: Construct complete and
correct sentences
Sentences are incoherent and impede reader’s access to ideas.
Sentences are incomplete and/or include fragments and run-on
sentences, limiting reader’s access to ideas.
Sentences structure effectively conveys meaning to the reader.
Written Communication (WC) 1.2: Demonstrate the effective
use of grammar and mechanics.
Multiple inaccuracies in grammar and mechanics impede
reader’s access to ideas.
Some inaccuracies in grammar and mechanics limit reader’s
access to ideas.
Use of grammar and mechanics is straightforward and
effectively conveys meaning to reader.
Written Communication (WC) 1.3: Create cohesive paragraphs
with a clear central idea.
Paragraphs, or lack of paragraphs, impede reader’s access to
ideas.
Construction of main idea and/or supporting paragraphs limit
reader’s access to ideas.
Main idea and/or supporting paragraphs effectively convey
meaning to reader.
Written Communication (WC) 1.4: Use supporting material to
support a claim.
Supporting materials are not present.
Supporting material is used inconsistently or inappropriately.
Supporting material is used to enhance meaning. Writing is
appropriately paraphrased and uses direct quotes as applicable.
Written Communication (WC) 1.5: Demonstrate appropriate
essay level writing skills, providing transitions between an
introduction, body, and conclusion.
Ideas are disorganized with no/poor transitions.
Ideas are loosely organized with unclear paragraphing and
transitions.

16. Ideas are organized with cohesive transitions.
Written Communication (WC) 1.6: Identify sources.
Sources are missing.
Writing inconsistently identifies or misrepresents sources.
Writing clearly identifies the source of nonoriginal material
and/or ideas.
Professional Skills Building
0
Not Present
1
Needs Improvement
2
Meets Expectations
Information Literacy: Apply strategies to evaluate information
in order to effectively analyze issues and make decisions.
Information Literacy (IC) 1.1: Identify and locate credible
sources.
No sources or non-credible sources are present.
Sources are inconsistently credible, appropriate, and relevant to
the topic and/or assessment.
Sources are mostly credible, appropriate, and relevant to the
topic and/or assessment.
Information Literacy (IC) 1.2: Analyze information sources.
Analysis is not present.
Analysis superficially applies aspects of sources that are most
relevant to the topic and/or assessment and/or analysis is
unclear.
Analysis thoroughly and clearly applies aspects of sources that
are most relevant to the topic and/or assessment.
Information Literacy (IC) 1.3: Synthesize information from
multiple, credible sources.
Synthesis is not present.
Synthesis demonstrates a vague connection between multiple
sources and/or the topic.
Synthesis demonstrates a clear and cohesive connection between
multiple sources and/or ideas to support a given topic.

17. ©2017 Walden University 1
ARTICLE: NIPPLE RIPPLES: 10 YEARS OF FALLOUT FROM
JANET JACKSON’S HALFTIME SHOW
ARTICLE: WHY DO MEDIA COMPANIES BLOCK MOVIES,
MUSIC, AND TV BASED ON LOCATION?
This article lays out the basics of global and regional license
restrictions. The article concludes that the reason producers of
popular culture content adhere to global licensing restrictions is
either for financial reasons or because of government mandates
to serve a home country.
Why Do Media Companies Block Movies, Music, and TV Based
on Location?
Henry, A. (2014). Why do media companies block movies,
music, and tv based on location? Retrieved from
https://lifehacker.com/why-do-media-companies-block-movies-
music-and-tv-base-1509912540
Time Estimate: 20 min
ARTICLE: EU AGREES TO END GEOBLOCKING TO BOOST
SINGLE DIGITAL MARKET
This story from the tech magazine site ZDNet investigates
possible benefits and drawbacks resulting from the European
Union (EU) ending geo-blocking within the member countries.
EU Agrees to End Geoblocking to Boost Single Digital Market
Osborne, C. (2017). EU agrees to end geoblocking to boost
single digital market. ZDNet. Retrieved from

18. https://www.zdnet.com/article/eu-agrees-to-end-geoblocking-to-
boost-single-digital-market/
Time Estimate: 15 min
ARTICLE: MOVIES, MYTHS, AND MESSAGES: HOW
ENTERTAINMENT IS CREATING A GLOBAL BRAND
CULTURE
Markman notes the following in his article: “This article
focuses on the U.S. entertainment industry that is creating a
global brand culture. Motion picture messages have outstripped
literature, classic music, theatre, and advertising as the
authority to set not just an American identity but also a global
cultural agenda. Intentionally or unavoidably, movies become
part of the zeitgeist because they coincidentally arrive at a
precise moment in history when their themes play into current
events and capture popular culture. Motion pictures are
powerful because they brand culture.”
Movies, Myths, and Messages: How Entertainment Is Creating a
Global Brand Culture
Markman, K. (2005). Movies, myths, and messages: How
entertainment is creating a global brand culture. Licensing
Journal, 25(6), 27–30. Retrieved from the Walden Library
databases.
Time Estimate: 25 min
ARTICLE: CROSSING BORDERS IN THE DIGITAL
MARKET: A PROPOSAL TO END COPYRIGHT
TERRITORIALITY AND GEO-BLOCKING IN THE
EUROPEAN UNION
Per Hoffman, in his article: “The article focuses on the geo-
blocking and territorial copyright in the European Union (EU)
as well as the contemporary consumer reaction to geo-blocking
practices. It mentions that European Commission should
implement proposal as a significant step toward the creation of

19. a single digital market in the EU. It also mentions that historical
efforts against geo-blocking and consumer reaction to propose a
new strategy for EU copyright in the digital age.”
Crossing Borders in the Digital Market: A Proposal to End
Copyright Territoriality and Geo-Blocking in the European
Union
Hoffman, J. (2016). Crossing borders in the digital market: A
proposal to end the end copyright territoriality and geo-blocking
in the European union. George Washington International Law
Review, 49(1), 143–173. Retrieved from the Walden Library
databases.
Time Estimate: 45 min
Geo-Blocking: For or Against?
Spreading and accessing culture around the world is not always
as straightforward as you might think. The resources for this
module talk about limits to global access of popular culture and
how global access to popular culture can bond communities
together. On one side, there are corporate, copyright, and
financial issues that support the idea of geo-blocking. On the
other side, there is a case for dispelling geo-blocks so that
popular culture can act as a bond by sharing a narrative across
national boundaries. Weigh the merits of both sides of the
argument. It might help to think of a specific artifact/expression
as an example. Post your own explanation of geo-blocking
in Discussions and then argue either for or against it.
Note: Your examples of popular culture artifacts/expressions
should fall under one or more of these categories:
· Music
· Music videos
· Movies
· Episodic moving image: TV shows
· Fashion
· Advertising
· Animations
· Printed material

20. This article takes a look back at a performance by Janet Jackson
and Justin Timberlake during the halftime show at Super Bowl
XXXVIII in 2004 and how a split-second wardrobe malfunction
is still having repercussions in how broadcast content within the
U.S. is being regulated.
Nipple Ripples: 10 Years of Fallout from Janet Jackson’s
Halftime Show
Kreps, D. (2014, January 30). Nipple ripples: 10 years of fallout
from Janet Jackson’s halftime show. Rolling Stone. Retrieved
from https://www.rollingstone.com/culture/news/nipple-ripples-
10-years-of-fallout-from-janet-jacksons-halftime-show-
20140130
Time Estimate: 30 min
WEB RESOURCE: OBSCENE, INDECENT, AND PROFANE
BROADCASTS
This section of the FCC website explains how to file a
complaint if you believe that a broadcast is indecent or obscene.
Obscene, Indecent, and Profane Broadcasts
Federal Communications Commission Consumer Help Center.
(n.d). Obscene, indecent, and profane broadcasts. Retrieved
May 11, 2018, from
https://www.fcc.gov/consumers/guides/obscene-indecent-and-
profane-broadcasts
Time Estimate: 10 min
WEBSITE: FILM RATINGS.COM: THE CLASSIFICATION &
RATING ADMINISTRATION (CABA) GUIDE TO RATINGS
The Motion Picture Association of America, a professional
association for the film industry in the United States, is
responsible for the ratings of films. Filmmakers submit their
films to the association in order to receive a rating. Even though
this is a voluntary process, movie distributors and theatre chains
are reluctant to show movies without ratings. So, although a
voluntary system, the economic effects are viewed as coercive.

21. In addition to learning about the ratings system in general,
please review: “About Us” and “History.” You may also want to
explore other sections of this website.
Film Ratings.com: The Classification & Rating Administration
(CABA) Guide to Ratings
Film Ratings.com: The Classification & Rating Administration
(CABA). (n.d.). Guide to ratings. Retrieved Retrieved May 11,
2018, from https://filmratings.com/RatingsGuide
Time Estimate: 60 min
ARTICLE: ‘NO GHOSTS. NO GAY LOVE STORIES. NO
NUDITY’: TALES OF FILM-MAKING IN CHINA
This article discusses the lure of the Chinese market for
filmmakers worldwide and especially Hollywood; the “trick” of
finding ways to obtain Chinese government approval for
showing movies, the compromises involved, and the influence
of Chinese individuals investing in Hollywood.
‘No Ghosts. No Gay Love Stories. No Nudity’: Tales of Film-
Making in China
Sala, I. M. (2016, September 22). ‘No ghosts. No gay love
stories. No nudity’: Tales of film-making in China. The
Guardian. Retrieved from
https://www.theguardian.com/film/2016/sep/22/tales-of-film-
making-in-china-hollywood-hong-kong
Time Estimate: 30 min
ARTICLE: SAUDI ARABIA TO ALLOW MOVIE THEATERS
AFTER 35-YEAR BAN
This article discusses the easing of social rules in the interest of
growing the economy and how the opening of movie theaters
plays into new government policies. The Culture and
Information Ministry makes censorship decisions for each film
individually.
Saudi Arabia to Allow Movie Theaters After 35-Year Ban
Cowell, A., & Kirkpatrick, D. (2017, December 11). Saudi
Arabia to allow movie theaters after 35-year ban. The New York

22. Times. Retrieved from
https://www.nytimes.com/2017/12/11/world/middleeast/saudi -
arabia-movie-theaters.html