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![“[Modern] Pilgrims had a stake in the
solidity of the world they walked, a
kind of world in which one can tell
life as a continuous story – moving
towards fulfilment – The world of
pilgrims, of identity-builders must be
orderly, determined, predictable, but
most of all it must be one in which
one can make engravings in the sand
so that past travels are kept and
preserved.”
(Bauman 1996: 23)](https://image.slidesharecdn.com/gmcweek22023-240926091624-63da0998/75/GMC_Week-2_20230203203023032323232023-pdf-15-2048.jpg)
![“[…] we need to acknowledge
that hybridity is not a mere summation
of differences whereby eclectic symbolic
elements cohabitate. Rather, hybridity
is the dialogical re-inscription
of various codes and discourses in a
spatio-temporal zone of signification.
As such, conceptualizing hybridity entails
re-formulating intercultural and
international communication beyond
buoyant models of resistance and
inauspicious
patterns of domination.”
(Kraidy 1999: 472)](https://image.slidesharecdn.com/gmcweek22023-240926091624-63da0998/75/GMC_Week-2_20230203203023032323232023-pdf-32-2048.jpg)
GMC_Week 2_20230203203023032323232023.pdf
- 1. GMC Week 2 Whatis the ‘Glocal’? Self-becoming & Community building
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- 3. In today’s class: -To understand the concepts of ‘glocal’ and cosmopolitanism in the context of media convergence. - To explore Bauman’s example of “From Pilgrim to Tourist”, understanding the difference between so-called “ethnic” media and transnational networks. - To understand the idea of transnationalism. - To understand the dialogic approach in studying globalisation.
- 4. New Media Order Regulatory,economic and technological changes in the 80’s transformed the economic/social model of media From regulation in public interest Deregulation Specialist and localized media Mass media Public citizens Private consumer entities
- 5. •Audiovisual geographies arethus becoming detached from the symbolic spaces of national culture, and realigned on the basis of the more 'universal' principles of international consumer culture. The free and unimpeded circulation of programmes – television without frontiers – is the great ideal in the new order. It is an ideal whose logic is driving ultimately towards the creation of global programming and global markets – and already we are seeing the rise to power of global corporations intent on turning ideal into reality.The new media order is set to become a global order.” (Robins and Morley 2002: 11)
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- 7. “The ways thatthe transcultural flows of popular culture inspire new global consciousness and cultural competency”. --- More celebratory tone by Henry Jenkins
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- 9. How we inhabitthe world and relate to each other changed/ is changing/ will continue to change
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- 11. Modernity: • From Enlightenmentto 20th Century • Main problem Looking for an identity Who are we? Self-construction
- 12. - Life awayfrom distractions within cities - Life in the dessert, a no- place, where one could lose their identity and stay away from duties and responsibilities - Fulfilment in the desert Pilgrim
- 13. Modern Pilgrim Pilgrim • Citiesas meaningless and no value, like a desert. • They bring in value themselves, by identity building, of themselves and the city. • Gratification deferred in the future.Walking towards fulfilment. • Life away from distractions within cities. • Life in the dessert, a no-place, where one could lose their identity and stay away from duties and responsibilities. • Fulfilment in the desert.
- 14. How we inhabitthe world and relate to each other changed/ is changing/ will continue to change We will take a more optimistic view when talking about Agency in another lecture later
- 15. “[Modern] Pilgrims hada stake in the solidity of the world they walked, a kind of world in which one can tell life as a continuous story – moving towards fulfilment – The world of pilgrims, of identity-builders must be orderly, determined, predictable, but most of all it must be one in which one can make engravings in the sand so that past travels are kept and preserved.” (Bauman 1996: 23)
- 16. • Life asnothing waiting to be something. • Bringing in identity through self- construction: coming out of poverty, getting a highly paid job, marrying a high-class woman – becoming someone. • Constructing his identity in a no-place, New York: a place for perpetual beginning, of potentiality, opportunity, that takes the identity of those in it. • Linear life waiting for final gratification. Don Draper
- 17. We are livingin an inhospitable world Nothing is fixed, stable, solid. Everything is in constant change, circulation, in a state of permanent liquidity.
- 18. No fixed identity, capacityfor constant self-transformation. Delayed gratification turns into instant gratification. There is no progress: it’ s not about moving forward, but the ability to stand still.
- 19. Living in unstabletimes. Identities are always transforming. Culture is always changing. Our contexts are not geographically bound anymore. The massification of the media has resulted in our lives, cultures and societies becoming transnational.
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- 23. •“I view localityas primarily relational and contextual rather than as scalar or spatial. I see it as a complex phenomenological quality, constituted by a series of links between the sense of social immediacy, the technologies of interactivity, and the relativity of contexts.” • (Appadurai 1996: 178)
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- 25. “Ethnic” media Alternative mediato ethnic communities within a host country NewYork – ManyVoices,OneCity study • 18 dailies – 9 published in a different language to English • 270 community and ethnic outlets • 36 languages • 31 cater to Latinx audiences • 9 cater to Pakistani audiences • 3 cater to Nepalese audiences
- 26. Examples? London’s Brick Lane Chineseinfluencers on RED
- 27. Ethnic media isgrowing, not despite of, but partly due to the rise of transnational media Factor : Deterritorialization - No boundaries - Merging of cultural contexts -Adaptation and integration of audiences Cosmopolitanization of audiences
- 28. US Reality TVShow Adapted to new country and culture Adaption of production to recognizable locations by audience Co-production and talent exchanging to optimize the cultural influence and profits
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- 31. 1) mixing previouslyseparate cultural systems 2)deterritorialization of cultural processes from their original physical environment to new and foreign contexts 3)Impure cultural genres that are formed out of the mixture of several cultural domains (Garcia-Candini 1995) The process of hybridization:
- 32. “[…] we needto acknowledge that hybridity is not a mere summation of differences whereby eclectic symbolic elements cohabitate. Rather, hybridity is the dialogical re-inscription of various codes and discourses in a spatio-temporal zone of signification. As such, conceptualizing hybridity entails re-formulating intercultural and international communication beyond buoyant models of resistance and inauspicious patterns of domination.” (Kraidy 1999: 472)
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- 34. https://www.theguardian.com/music/2020/jul/20/k- pop-black-fans-creatives-industry-accountable-race Rosalía – Spain– Flamenco JBalvin – Colombia – Cumbia/Reggaeton
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- 40. Recall – culturalconsequences of globalization
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- 45. Atacollectiveandculturallevel: Dominationofcultures recallthedebatewementionedearlierinthislecture Iwabuchi – de-westernization Culturalmixing and corporate collaboration Socio-historically specific experiences
- 46. Iwabuchi • EastAsian media culturesand corporate governance • International governance of the media culture encounter • State governance of brand nationalism • Towards de- nationalized public dialogue
- 47. Atacollectiveandculturallevel: Dominationofcultures recallthedebatewementionedearlierinthislecture Iwabuchi – nuancedarguments He examined, • the collaboration of the media and cultural industries; • the institutionalization of cultural internationalism; and • the growing interest of states in branding the nation via media cultures. • Reciprocal, mutual understanding and self-reflection • Consumption and Co-production • Dialogic – when dealing with others
- 48. Atacollectiveandculturallevel: Dominationofcultures recallthedebatewementionedearlierinthislecture Iwabuchi – nuancedarguments “Media cultures have thus connected East Asia in new, dialogic ways: dialogic in the sense of rethinking one’s own life, society and culture at the same time as reflecting in critical fashion on one’s socio-historically constructed relations with others. In this regard, it can be argued that travelling East Asian media cultures have engendered a cultural public sphere, which McGuigan defines as ‘the articulation of politics, public and personal, as a contested terrain through affective (aesthetic and emotional) modes of communication’ and which ‘provides vehicles for thought and feeling, for imagination and disputatious argument’” (Iwabuchi, 2010, pp. 406-407).