Global Entertainment

Artz, Lee

doi:10.4324/9781003162452-02

Cited by 3 publications

(18 citation statements)

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“…Flew (2007: 73) argues that the cultural hegemony of transnational media corporations and 'the radical critique of global media associated with critical political economy experienced a resurgence of interest in recent years'. Through powerful production and distribution networks, global media perpetuate ideologies that help the elite maintain the consent of audiences, which consume conformist messages produced by cultural industries (Artz, 2015;Bagdikian, 2004;Gramsci, 1995;Hesmondhalgh, 2007;McChesney, 2008). The media depend on market forces for their operations, and it is no surprise if they advance the interests of those who supply them money in the form of advertising dollars and subsidies (Altschull, 1995).…”

Section: Theoretical Positioning: Critical Political Economy and Cult...mentioning

confidence: 99%

“…For example, Thussu (2005) argues that out of the 10 channels provided by Star TV, owned by News Corp. in India, nine focus on entertainment-oriented programmes. The proliferation of channels and genres does not lead to content and programme diversity, but, rather, a cultural hybrid is promoted under the influence of cultural hegemony that results in cultural homogeneity favouring capitalistic ideologies of consumerism at the expense of local values, the working class and diverse populations (Artz, 2015). Through cultural hegemony, the profit-oriented commercial operations of transnational media corporations often conflict with the social and cultural needs of the working classes and local communities, which subsequently lead to a number of social problems.…”

Section: Theoretical Positioning: Critical Political Economy and Cult...mentioning

confidence: 99%

“…Likewise, critical political economy critically evaluates the hegemonic practices encouraged by global transnational media firms and focuses on the connections between 'political, coercive, economic, and symbolic power structures entwined with the mass media; historical approaches defining the history of economic order; the varying nature of the relationships between commercial mass media and the state machinery; and an emphasis on praxis' (Rasul, 2012: 564;Mosco, 2009). Critical analysis of political, economic and ideological orientation of the entertainment industries is heuristically significant as cultural products 'manufactured' by these capitalist-friendly firms are affecting the consumption patterns of billions of cinephiles all over the world by promoting a hybrid culture characterised by mergers of traditional and modern forms of cultural expression, combining past with present and local with transnational through, for example, technological innovations and other spaces (Artz, 2015;Zhao and Chakravartty, 2007).…”

Section: Theoretical Positioning: Critical Political Economy and Cult...mentioning

confidence: 99%

“…The commercial success of Tigmanshu Dhulia's Shagird (2011), Anand L. Rai's Tanu Weds Manu (2011), Sudhir Mishra's Yeh Saali Zindagi (2011) and Aparna Joshi's Utt Pataang (2011) attracted the attention of major Bollywood players, and exhibitors turned their attention to small-budget films due to theme diversity, creativity and positive reviews. However, media giants largely ignored small-budget filmmaking ventures and collaborated with their established local partners (Artz, 2015).…”

Section: Global Bollywood and Disneymentioning

confidence: 99%

“…In addition, the flow of foreign capital and a 'phenomenally successful extension of marketing' globalised the cultural influence of Bollywood in different parts of the world (Gopal and Moorti, 2008;Kavoori and Joseph, 2011;Schiller, 1996: 115). The global reach of Bollywood attracted commercial sector investment in the Indian entertainment industry through co-productions and joint ventures, and transnational media -owned cooperatively by multinational media firms such as Disney -engaged in joint ventures with Bollywood to enhance their revenues and capture one of the biggest entertainment markets in the world (Artz, 2015;Thussu, 2007). In this paper, I will detail how Disney made inroads into the large Indian culture market, and how subsidiaries such as UTV Motion Pictures paved the way for the cultural conquest of the local entertainment industries and labour.…”

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confidence: 99%

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A passage to India: The Indian film market and the political economy of Disney’s transnational operations

Rasul

2023

Global Media and Communication

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This study analyses Disney’s operations in the Indian film market through its subsidiary, UTV Motion Pictures, during earlier decades. Scholarship in the critical political economy has ignored how transnational media corporations make inroads into profitable markets. The present study addresses this critical gap by examining Disney’s expansion strategies in the Indian culture market. The analysis reveals that Disney has increased its influence in the Indian entertainment sphere by following the capitalistic logic of profit maximisation at the expense of local production, distribution and consumption of entertainment products. The study discusses the future research agenda for critical political economy theory.

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Section: Theoretical Positioning: Critical Political Economy and Cult...mentioning

confidence: 99%

Section: Theoretical Positioning: Critical Political Economy and Cult...mentioning

confidence: 99%

Section: Theoretical Positioning: Critical Political Economy and Cult...mentioning

confidence: 99%

Section: Global Bollywood and Disneymentioning

confidence: 99%

mentioning

confidence: 99%

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A passage to India: The Indian film market and the political economy of Disney’s transnational operations

Rasul

2023

Global Media and Communication

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Requirement Politics

Bowen

2023

Art/Research International

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In this article, which includes a feminist micro-chapbook, the author has chosen poems written both prior to and following their recollection of and subsequent therapeutic struggle to work through their lifelong experiences of sexual harassment and assault. Situated within the neoliberally co-opted #MeToo campaign, Betsy Devos’s 2020 Title IX cross-examination mandate, and post-Trumpian, ongoing COVID U.S. landscape, this work performs an ethnographic autopsy on the body politic: displaying the fleshy lived consequences of an unjust legal system. By continuing Faulkner’s work on poetic inquiry as feminist methodology, this piece contributes to the tradition of poetic praxis as a means of clapping back to structures of oppression. At its core, this article reveals relived experiences and words spoken by institutional figures reluctant to fulfill mandatory reporting requirements. By playing off Higginbotham’s (1993) term respectability politics, “Requirement Politics” blurs lines of academic and poetic writing to deliberately collapse a fabricated line between public and private lived experiences.

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Students and Teachers as Changemakers

M. Jacobs,

Huat Chau,

Huda Hamzah

2022

rEFLections

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This article argues that language students and teachers are changemakers and that, in keeping with progressivist philosophy and the bottom-up social paradigm, they can play a powerful role in creating a better world. As our understanding of the world continues to increase, both students and teachers can use this increased understanding to initiate changes, so that we can transition to better times. These changes include transformations of all sizes. Small transformations take place within and among individuals, while big transformations involve systems and institutions and thousands or even billions of people, as well as companies, other organizations, and countries. Many in education concentrate on small transformations, and those, no doubt, carry weight. This article encourages us in language education to include contributing to or even attempting to initiate big transformations in a number of areas. In fact, working on all sizes of transformations simultaneously may be the most effective path. Examples are given and suggestions of such varied-sized transformations by language learners and teachers are made in three areas based on a review of research on student-centered learning, collaborative learning, and diet change. This article also suggests that students and teachers as changemakers could start with taking small steps, which then provide them with both the confidence and credibility necessary to advocate for big steps and create impactful changes.

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Global Entertainment

Cited by 3 publications

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A passage to India: The Indian film market and the political economy of Disney’s transnational operations

A passage to India: The Indian film market and the political economy of Disney’s transnational operations

Requirement Politics

Students and Teachers as Changemakers

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