Zusammenfassung der Ressource
Consumption
- 考题
Anmerkungen:
-
Media consumption is always local. Discuss
How relevant is the theory of cultural
proximity to our understanding of the way audiences consume the media today?
"Audiences tend to prefer programmes
that are closet to their own cultural experience" (Staubhaar), Discuss.
- 背景
- Asymmetrical flows
Anmerkungen:
- -Overconcentration of production in small number of global/western corporations
–Over-representation of Eurocentric/neoliberal/capitalist values in media products – values’ homogenization
–Reproduction of products across media and spaces – content/format homogenization
- Global – Local Nexus
Anmerkungen:
- Lull 2007
●
Unprecedented quality and diversity of media products
前所未有的质量和媒介产品的多样性
●
Global flows
increasingly diverse and complex, sometimes reversing patterns of cultural imperialism
全球流动增加了多样性和复杂性,有时候能够扭转文化帝国主义的模式
●
Transnational
migration challenges the one-way flow
跨国移民挑战了单向流动
●
Piracy of media
products represents 90 per-cents of exchanges
盗版占据九成市场
●
No sign of local
cultures’ retreat
本土文化未有消退迹象
●
Outside influence
‘indigenized’/hybridized
外界施加的影响与本土化
● Global firms adopt strategies of localisation to
attract consumers
国际企业采用本土化战略吸引受众
- Media consumption in a global context
Anmerkungen:
- Diversification of mediated spaces in digital and satellite environments (Volkmer 2013)
•Universalism/particularism continuum (Robertson 1992)
•A dynamic political and a cultural space (Slade 2014)
•Site of tension between hegemonic/counter-hegemonic voices (Abu-Lughod 2008)
•The uneven global terrain of media production/representation/consumption (Waisborn 2004; Moran 2008)
- Global media, culture, and identity
Anmerkungen:
-
●
Global media and
communications as channels for and the transformation of identity (Vertovec, 2011)the flow
of cultural phenomena
●
Complex
transnational flows of media images and messages perhaps create the greatest
disjunctures for diasporic populations, since in the electronic media in
particular, the politics of desire and imagination are always in contest with
the politics of heritage and nostalgia (Appadurai and Breckenridge, 1989).
● The discourse of cultural specificity and
difference, packaged for transnational consumption through global technologies,
particularly through the medium of ‘microelectronic transnationalism’
represented by Internet (Spivak, 1989).
- Cultural imperialism
Anmerkungen:
-
The concept of cultural
imperialism today best describes the sum of the processes by which a society is
brought into the modern world system and how is dominating stratum is
attracted, pressured, forced, and sometimes
bribed into shaping social institutions to correspond to, or even promote, the
value and structures of the dominating center of the system (Schiller, 1976)
- media consumption end
Anmerkungen:
-
The General Context where the Audience make
their choices: audience preferences are indeed formed within the overall trend
toward cultural proximity within both national and cultural-linguistic
boundaries. However,as Iwabuchi (2002) points out, cultural proximity cannot be
seen as an essential quality of culture or audience orientation, but rather a shifting
phenomenon in dialectical relation to other cultural forces.
Overall, audiences do tend to choose
programs that are most culturally relevant or proximate. Second, this proximity
tends to be defined by historical spaces of cultural and linguistic
commonality. These tendencies are dynamic and relational: change over time;
some broad across nations and supranational regions, some very localized;
appeal to special groups’ taste(La Pastina & Straubhaar,
2005)
- identity
Anmerkungen:
- 消费的空间,即是身份的空间
Identity provides a way of understanding the interplay between our subjective experience of the world and the cultural and historical settings in which this fragile subjectivity is formed (Hall 1997)
•Identities are not pure or stable but are the product of meetings and mixings – hybrid identities are the result of cultural exchanges and movement of cultures (Gilroy 1993)
●
Global media and
communications as channels for the flow
of cultural phenomena and the transformation of identity (Vertovec, 2011)
- everyday life
Anmerkungen:
- 日常生活作为一种反对霸权的space
Everyday life as the ordinary site of contestation (Silverstone, 1994)
There are neglected modes of participation in everyday life, and these forms of action offer points of entry into the dominant culture and power structure, by subverting it if necessary, and by appropriating it to other uses (Martín-Barbero, 1993).
- Universality
Anmerkungen:
- 媒介主题的普遍性 可以让受众产生基于文化的映射理解
‘the universality, or primordiality, of some of the themes and formulae, which makes programmes psychologically accessible; the polyvalent or open potential of many of the stories, and thus their value as projective mechanisms and as material for negotiation and play in the families of man...’ (Katz and Liebes, 1990:5).
‘Melodrama builds on underlying oral structures, formulas and archetypes that can be shared by cultures’ (La Pastina and Straubhaar 2005: 275)
- Cultural proximity
Anmerkungen:
- 定义
Anmerkungen:
-
the
theory of cultural proximity(Straubhaar, 1991): audiences
will tend to choose to watch television programs that are closest, most
proximate or most directly relevant to them in cultural and linguistic terms.
- 适用范围
Anmerkungen:
- Cultural proximity can be shaped around common history, language and geographical proximity but it can also go beyond language to include history, religion, ethnicity (in some cases) and culture in several senses: shared identity, gestures and nonverbal communication… Geo-cultural markets are often centered to a geographic region…, but they have also been spread globally by colonization, slavery and migration (Straubhaar, 2002: 196).
- audience reception
Anmerkungen:
- The success or failure of a localized adaptation lies not in the process of remaking the show, but in the local audience’s process of recognition, identification, and appreciation (Moran 2009)
Apart from successful corporate strategies for production, distribution, and marketing, the international circulation of Yo soy Betty, la fea is largely related to the universal themes and culturally adaptable characteristics of the Betty format (Adrians and Biltereyst 2011).
- 三种类型的案例
- 相似的剧情
Anmerkungen:
- The case study of Noor
(Akkad, 2008).
- regional and global politics
- identity struggles
Anmerkungen:
- Tradition meets modernity
- Morality as a battleground
Anmerkungen:
- (Silverstone 2006)
论述了文化冲突现象
PPT p20
- Third space
- Larkin的reading
Anmerkungen:
- Indian film offers a “third space” for Hausa audiences that mediates between the reified poles of Hausa Islamic tradition and western modernity (a false dichotomy to be sure, but one that remains deeply meaningful to people’s political consciousness (Larkin, 2003: 172)
- modernity
- the global flow of Indian films
- cultural production of diaspora
Anmerkungen:
- the tropes of loss nostalgia and pastness
- non-Indian audience
Anmerkungen:
- In Nigeria, Indian films offer ways of being modern and traditional that create a template for exploring the tensions of postcoloniality
这样的post colonial identity could be fasioned, critiqued and debated
- Nigeria video films
- national cinemas
Anmerkungen:
- national state can be the definer and defender of cultural values
- video industry
Anmerkungen:
- driven largely by commercial rather than political motivation
- Yoruba, English and Hausa
- Indian films and Hausa viewers
Anmerkungen:
- Indian films provide Hausa youth with an alternative style of sexual interaction, a different pattern of speech and bodily affect between the sexes
- In sa so da Kauna
- Pastina和Straubhaar的reading
Anmerkungen:
- This article argues that audience preferences are formed within the overall trend toward
cultural proximity within both national and cultural-linguistic boundaries. However, within this
logic of cultural proximity, other forces also apply. It is important to understand cultural proximity
working not only at the national and supranational levels but also at the subnational and
regional spheres.
- genre proximity
Anmerkungen:
- Rafael Obregon (1995) discussed the idea of genre proximity, emphasizing
the common structure of melodrama that covers many cultures. Melodrama
builds on underlying oral structures, formulas and archetypes that can
be shared by cultures.
Genres and subgenres can exert attractions to specific audiences that across and even contradict the overall logic of cutural proximity.
- 1st local or national
Anmerkungen:
- the nation-state is still the
dominant locus of market definition
- 2nd program from US
Anmerkungen:
- the strong presence of US cultural products in so many
media over the years has created a sense of familiarity or proximity with them
- 3rd desired proximity with modernity
Anmerkungen:
- historical experience
Anmerkungen:
- modernity
- national &cultural-linguistic market
Anmerkungen:
-
“Audiences share the same or similar
languages as well as intertwined histories and overlapping cultural
characteristics. They share colonial legacies, independence movements,
struggles against foreign hegemony, development challenges and the like have
knit together a region where similarities extend beyond the languages spoken”
(Wilkinson, 1995: viii, 52).
The
audience’s second preference is usually for television programs produced within
similar cultures, usually within a cultural-linguistic market defined by historical,
ethnic, religious, linguistic, geographical and other similarities(Sinclair,
1996; Wilkinson, 1995).
- Pastina和Straubhaar的reading
- audience' preference
Anmerkungen:
- Their first preference would tend to be
for material produced within their own language and local or national culture
the audience’s second preference is usually for television programs produced
within similar cultures, usually within a cultural-linguistic market defined by
historical, ethnic, religious, linguistic, geographical and other similarities
(Sinclair, 1996; Wilkinson, 1995).
- multilayers of cultural proximity
- different level
Anmerkungen:
- 人的定义比较复杂 所以接近也有很多层面
geographic
or spatial: local, subnational regional, national, supranational regional, global
cultural or linguistic移民为例
religious,
ethnic or diasporic
gender related
- locality
Anmerkungen:
-
Much of one’s cultural identity continues
to be local or linked to a subnational region. These definitions of locality
and local identity are complex and subject to ongoing redefinition in the
interaction of global, national and local forces (Iwabuchi, 2002)
- audience identity
- layers
Anmerkungen:
- 作者指出巴西易于形成subnational identity
a set of identities based on space and
place: local, regional, national and global. The experience of locality is
bound up with other layers of identity, such as ethnicity or language/culture. National identity is the primary
one.
- Cultural Identities
Anmerkungen:
-
1. shared language(similar
language);shared history or geographic proximities
- New layer of identity
Anmerkungen:
-
1. above locality, and in some
cases above subnational cultural-linguistic communities, supplementing but not
necessarily reducing those older layers. The creation of national borders and
identities did not completely reduce existing supranational cultural-linguistic
communities and identities.
- related proximity
- cultural shareability
Anmerkungen:
-
successfully exported
television programs often share a language (Singhal et
al., 1994), shareability also refers to common values, images, archetypes
and themes across cultures that permit programs to flow across cultural
boundaries (Singhal and Udornpim, 1997)
- others
Anmerkungen:
- 1.First, there are
material and structural limits at the production level
2.there are structural barriers of income or
economic capital at the individual reception level
Third, there are less tangible barriers of cultural
capital
可以联系Mosco关于class的叙述
Class:
application of structuration theory to media, sees social class as a factor
limiting access to media in many parts of the world (Mosco,1996)
- capital
Anmerkungen:
-
human agency is
not all-powerful, but rather coexists
in precarious balance with
other powerful societal structures such as economic
and social institutions(Giddens,1984).
Cultural capital
(Bourdieu, 1984) is used here to sum up a series of identifiable factors that
people tend to use when deciding what they want to watch on television and how
they interpret what they watch. (humor, gender images, dress, style, lifestyle,
knowledge about other lifestyles, ethnic types, religion and values……)
- 研究对象与结果
- Marimar in Brazil
Anmerkungen:
- 呈现了一种观众所认可的肥皂剧的方式 但是又没有伤及传统
- Terra Nostra in Italy
- 结论
Anmerkungen:
- the concept of cultural proximity needs to be discussed in terms of
shared local values and historical alliances between the original culture of the
text and the local culture.