Introduction: Our Asian Media Studies?

Erni, John Nguyet; Chua, Siew Keng

doi:10.1002/9780470774281.ch1

Cited by 16 publications

(15 citation statements)

References 2 publications

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“…If Eurovision is about a ‘common European awareness’ and a key site ‘for creating Europe as a popular master narrative’ (Tragaki, 2013: paras 3 and 4), the name suggests an orientalist approach, creating an Asian awareness based on a European framework. Questions have been raised about the appropriateness of Western frameworks/methodologies, developed within a different historical and geo-political context, for an Asian context (Erni and Chua, 2005: 2). The same question can be asked about the appropriateness of the Eurovision format in an Asian context.…”

Section: Conclusion: Master Narrativesmentioning

confidence: 99%

From Eurovision to Asiavision: the Eurovision Asia Song Contest and negotiation of Australia’s cultural identities

Woods

2020

Media International Australia

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Australia’s participation in the Eurovision Song Contest and involvement in the organisation of the Asian version of Eurovision (the Eurovision Asia Song Contest) through broadcaster SBS has been celebrated, questioned and criticised. In this article, I examine Australia’s role in the organisation of the Eurovision Asia Song Contest in the context of Australia’s relationship with the region, and what this reveals about Australia’s cultural identity and place in this Asia-Pacific region. If Eurovision was conceived as a post-war project to unify Europe, I argue that for the Eurovision Asia Song Contest to become a reality, it needs to have a framework that takes into account the region’s own historical, political and geo-political contexts rather than having a Eurocentric model imposed on it.

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Section: Conclusion: Master Narrativesmentioning

confidence: 99%

From Eurovision to Asiavision: the Eurovision Asia Song Contest and negotiation of Australia’s cultural identities

Woods

2020

Media International Australia

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“…From the global popularity of reality TV (Waisbord, 2004) to the increasingly transnational production of Hollywood (Miller et al, 2005), the ways in which media production and distribution are organized are less and less confined within national boundaries. Erni and Chua (2005) raised the intriguing question of how the whole idea of "domestic media" is challenged, "when local media producers themselves have actively sought to emulate, and sometimes create, 'culturally pirated versions' of western production codes and programming?" (p. 2).…”

Section: Rethinking the Dynamics Between The Global The National Andmentioning

confidence: 99%

A Change of Lens: A Call to Compare the Media in China and Russia

Meng¹,

Rantanen²

2015

Critical Studies in Media Communication

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“…Although, the ‘one way flow of communication and influence from the West’ (Schiller, 1976) has been challenged by ‘multi-directional flows’ (Robertson, 1992) and ‘contra-flows’ (Iwabuchi, 2007) circulating from peripheral to core countries (Biltereyst and Meers, 2000; Erni and Chua, 2004), these dominant seven countries acquired 73.5 per cent of global film production companies (Jin, 2013). In the same vein, film production companies in the United States acquired 440 foreign film production companies (24.4%) amounting to controlling nearly a quarter of all cross-border deals, while, for instance, Japan accounted for 3.6 per cent, and thus only 65 cross-deals (Jin, 2013).…”

Section: Introductionmentioning

confidence: 99%

The politics of pleasure in global drama: A case study of the TV series, The Magnificent Century (Muhteşem Yüzyıl)

Özalpman

Sarikakis

2018

Global Media and Communication

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This article is concerned with the ways in which local/national drama becomes a global success, which strategies are developed to appeal to viewers within different cultural settings and how far this shift is important when re/thinking audience reception studies. The study answers this question by exploring the television (TV) drama series, The Magnificent Century (2011–2014) by conducting in-depth interviews in the Greek capital Athens and the Moroccan capital Rabat with viewers and the production and distribution team of the series. The findings show that potentials for pleasure in the consumption of drama are designed from the very beginning when thinking globally, to reduce cultural differences to a minimum, to finally fuse audiences’ interpretative practices beyond cultural polarization to common understandings.

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Introduction: Our Asian Media Studies?

Cited by 16 publications

References 2 publications

From Eurovision to Asiavision: the Eurovision Asia Song Contest and negotiation of Australia’s cultural identities

From Eurovision to Asiavision: the Eurovision Asia Song Contest and negotiation of Australia’s cultural identities

A Change of Lens: A Call to Compare the Media in China and Russia

The politics of pleasure in global drama: A case study of the TV series, The Magnificent Century (Muhteşem Yüzyıl)

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