Topic: The Creative Industries in an International Perspective<\/p>\n
Answer one question only(choose one topic you are good at). And please use the reading list as followings as much as possible, you also can find some others sources, at least 16 sources.
1, What is cultural imperialism? Is it still an appropriate way of conceptualising the global flow of cultural products?<\/p>\n
Cultural Imperialism
\u2022 Flew, T. (2013) Global Creative Industries. Cambridge: Polity. Chp 3
\u2022 Mirrlees, T. (2013) Global Entertainment Media. London:Routledge. Chp1
\u2022 Sparks, C. (2007) Globalization, Development and the Mass Media. London: Sage. Chps 5 & 6.
Cultural globalization
\u2022 Kawashima, N. (2011) Are the global media and entertainment conglomerates having an impact on cultural diversity? A critical assessment of the argument in the case of the film industry, International Journal of Cultural Policy, 17:5, 475-489
\u2022 Tomlinson, J. (1997) \u2018Cultural Globalization and Cultural Imperialism\u2019, in Mohammadi, A. (Ed.) International Communication and Globalization London: Sage.
\u2022 Sinclair, J. et al. (1997). Peripheral Vision, In New Patterns of Global Television. Oxford: Oxford University Press. Chp 1.
\u2022 Straubhaar, J. D. (2008) World Television. London: Sage. Various chapters
\u2022 Thussu, D K. (2006) (Ed) Media on the Move: Global Flow and Contra-Flow. London: Routledge. see various chps<\/p>\n
2, Identify the \u2018giant\u2019 transnational corporations of the global creative economy. To what extent do they dominate this economy?<\/p>\n
Corporate dominance
\u2022 Jin, Dal Yong (2008) Neoliberal restructuring of the global communication system: mergers and acquisitions Media, Culture and Society, 30(3): 357\u2013373
\u2022 Chalaby, J.K. (2011) \u201cThe making of an entertainment revolution: How the TV format trade became a global industry.\u201d European Journal of Communication, 26(4) 293\u2013309.
\u2022 Hardy, J. (2014) Critical political economy of the media an introduction. London: Routledge. Chp 4.
\u2022 McPhail T L. (2014, 4th Edition) Global Communication: Theories, Stakeholders and Trends, Oxford: Blackwell. Chp 7.
\u2022 Waisbord, S. (2004) \u201cMcTV. Understanding the global popularity of television formats.\u201d Television & New Media 5(4): 359-383.
\u2022 Winseck, D (ed) (2012) The political economies of media the transformation of the global media industries. London: A&C Black. Chps 2 & 3.
\u2022 Mirrlees, T. (2013) Global Entertainment Media. London:Routledge. Chp 2<\/p>\n
New powers
\u2022 McPhail T L. (2014, 4th Edition) Global Communication: Theories, Stakeholders and Trends, Oxford: Blackwell. Chp 14.
\u2022 Shim, D. (2006) Hybridity and the rise of Korean popular culture in Asia. Media, Culture and Society, 28(1): 25\u201344
\u2022 Kwon, S. & Kim, J. (2014) The cultural industry policies of the Korean government and the Korean Wave, International Journal of Cultural Policy, 20:4,422-439
\u2022 Rego, C M and La Patina A, (2007) Brazilian TV and Telenovellas. In Thussu, D K. (Ed) Media on the Move: Global Flow and Contra-Flow. London: Routledge.
\u2022 Miller, J (2012) Global Nollywood: The Nigerian movie industry and alternative global networks in production and distribution. Global Communications 8(2) 117\u2013133
\u2022 Straubhaar, J. (2010) Chindia in the context of emerging cultural and media powers. Global Media and Communication, 6(3): 253\u2013262
\u2022 Straubhaar, J. D. (2008) World Television. London: Sage. Various chapters<\/p>\n
3, What is content piracy? What challenge does it pose for the corporate culture industries and how have they responded?<\/p>\n
Copyright
\u2022 Lessig, L. (2004) Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. Penguin. Chp 1-3 (On module Learn page)
\u2022 McPhail T L. (2014, 4th Edition) Global Communication: Theories, Stakeholders and Trends, Oxford: Blackwell. Various chapters<\/p>\n
Piracy
\u2022 Karaganis, J (2011) Media Piracy in Emerging Economies. SSRC. Chp 1.
\u2022 Boyle, R. (2015) Battle for control? Copyright, football and European media rights Media, Culture & Society, 1\u201317
\u2022 Currah, A. (2006) Hollywood versus the Internet: the media and entertainment industries in a digital and networked economy. J. Economic Geography, August 1, 2006; 6(4): 439 \u2013 468.
\u2022 Mattelart, T. (2009) Audio-Visual Piracy: Towards a Study of the Underground Networks of Cultural Globalization. Global Media and Communication, 5 (3): 308-326.
\u2022 Yar, M (2006) The global \u2018epidemic\u2019 of movie \u2018piracy\u2019: crimewaveor social construction? Media, Culture and Society, 27(5): 677\u2013696.
\u2022 E. Mickiewicz (2001) Piracy, Policy, and Russia\u2019s Emerging Media Market The Harvard International Journal of Press\/Politics, 6, 2, 30-51
\u2022 Marshall, L. (2004) The effects of Piracy Upon the Music Industry. Media Culture and Society 26(2):163-81.<\/p>\n
4, Looking at either prosumer audiences or anti-corporate activists, outline their typical activities. To what extent are these activities challenging the dominance of the corporate culture industries?<\/p>\n
Anti-consumer politics
\u2022 Bennett, W L. (2004) Branded Political Communication, In Micheletti. M., et al. (eds) Politics, Products and Markets: Exploring Political Consumerism Past Present and Future. London: Transaction Books Also at https:\/\/depts.washington.edu\/gcp\/pdf\/brandpolcom.pdf
\u2022 Hollenbeck, C . R. and Zinnkhan, G M (2006) Consumer Activism on the Internet: The role of anti-Brand communities. Advances in Consumer Research 33 479-485
\u2022 Dietlind Stolle, Marc Hooghe, Michele Micheletti (2005) Politics in the Supermarket: Political Consumerism as a Form of Political Participation. International Political Science Review \/ Vol. 26, No. 3,. 245-269
Prosumption
\u2022 RItzer, G. et al., (2012) The Coming of Age of the Prosumer. American Behavioural Scientist, 56 (4) 379-39
\u2022 Comor, E. (2010) Contextualizing and Critiquing the Fantastic Prosumer: Power, Alienation and Hegemony. Critical Sociology.
\u2022 Ritzer, G. & Jurgenson, N (2010) Production, Consumption, Prosumption: The nature of capitalism in the age of the digital \u2018prosumer\u2019. Journal of Consumer Culture 10(1): 13\u201336.
\u2022 Mirrlees, T. (2013) Global Entertainment Media. London:Routledge. Chp 6<\/p>\n
Culture Jamming
\u2022 Klein, N. (2000) No Logo, London: Flamingo. See Chps 12-15, 18.
\u2022 V. Carducci (2006) Culture Jamming: A Sociological Perspective Journal of Consumer Culture 6: 116-138
\u2022 Hollenbeck, C . R. and Zinnkhan, G M (2010) Anti-brand Communities, Negotiation of brand Meaning and the Learning Process: The Case of Wal-Mart. Consumption, Markets and Culture, 13(3), 325-345
\u2022 Krishnamurthy S. Kucuk, U. S (2009) Anti-branding on the Internet. Journal of Business Research, 62, 1119-112
\u2022 Rumbo, J D. (2002) Consumer Resistance in a World of Advertising Clutter: The Case of Adbusters. Psychology and Marketing, 19 2: 127-147<\/p>\n
Marking Criteria
Course work will be evaluated on the criteria below:
\u2022 Structure and clarity. The extent to which the essay is logically organised with a coherent argument. There should be an introduction and conclusion, which draws together the strands of the argument. Subheadings are a useful device for signalling the sequence of the essays argument.
\u2022 Analysis. The essay should address relevant views and arguments in an informed and critical fashion.
\u2022 Relevance. Consider the essay question carefully. The essay should answer the question.
\u2022 Evidence. The essay should be informed by a range of the relevant reading.
\u2022 Use of literature. The evidence should be used accurately, critically, appropriately and effectively.
\u2022 Understanding. The essay should display an awareness of the key issues and an ability to tackle them confidently.
\u2022 Presentation. Is the essay legible, grammatical, and fluently written.
\u2022 Referencing. All sources should be used properly referenced in the text. A full and accurate bibliography should be included
\u2022 Originality. Does the essay draw on a wider than usual range of reading and examples ? Does it show evidence of original research by citing recent examples that have not been mentioned in lectures or in the assigned readings ? Does it make new points about familiar arguments or illuminate core issues in new ways ?<\/p>\n","protected":false},"excerpt":{"rendered":"
Topic: The Creative Industries in an International Perspective Answer one question only(choose one topic you are good at). And please use the reading list as followings as much as possible, you also can find some others sources, at least 16 Read More …<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-188318","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/posts\/188318","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/comments?post=188318"}],"version-history":[{"count":0,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/posts\/188318\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/media?parent=188318"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/categories?post=188318"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/tags?post=188318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}