The globalization of media

The orbiculateization of mediaThe sphericization of media is a pervasive phenomenon associated with some(prenominal) different theories and observes about its characteristics and consequences. Due to the considerable amount of transnational media which originates in the U.S, many aid that ball-shapedization will lead to an Ameri good dealization of the world, while others fear the power imbalance in media leans will weaken national sovereignty (Straubhaar et. al 2009, 531). The condition Indigenity, media and cultural globalization The Case of Mataku, or the Maori X-Files by Kevin Glynn and A. F. Tyson endorses the opposing visual sense that globalization provides the opportunity for national cultures to counter the Eurocentrism in the global media grocery, though the occidental domination of the market does act as an obstacle against the expansion of productions by lesser known cultures (Glynn et. al 2007, 210). patronage minor setbacks in the organization and flow of the article, Glynn provides developed and well-researched arguments in survive of his view, and strengthens his thesis further through the analysis of an planetaryly known autochthonal television drama, Mataku.From the first part of the article, the authors thesis is clear contemporary media is comprised of a multidirectional flow of information and culture, rather than a homogenic and unilateral one. The global mediasphere is coordination compound and differentiated, with evident cultural hybridity between local and global production (Glynn et. al 2007, 211).Firstly, analyzing the alternative view that globalization is an extension of colonization shows that it is an established view with strong points in support of it. Cultural imperialists believe globalization poses convertible threats to indigenous population as colonization did during the early colonial finale (Rodricks 2003, 81). Similarities between globalization and colonization, as outlined by Rodricks (2003, 49) include the sentiment that both phenomena involve a focus on financial gain, a competition for consumers, markets, and resources, and a suppression of indigenous cultures (Rodricks 2003, 50-57). Further more, knowledge, as presented by global media, is described as specialized, compartmentalized, and standardized (Kawagley et. al 1999, 121) which reflects the Eurocentric view that knowledge should provide universal definitions and categorized information (Henderson 2000, 35-37). This view of knowledge directly opposes the First Nations view that knowledge should involve collectivity, and decision-making as a lodge (Rodricks 2003, 79), further exemplifying the biases and Eurocentrism, evident in the global market.Glynn, although he does non deny the struggles faced by First Nations mediamakers against racism and stereotypical portrayals of nonage cultures in mainstream television, has a more positive outlook of globalization as a trend that creates opportunities for establishing usual recognition of indigenous identities (Glynn et. al 2007, 220). At one point he even suggests, through a repeat from a Maori producer, Tainui Stephens, that the inevitable struggles against more dominant cultures in the global media market, shtup be an aid, as opposed to a hindrance, to the Maori quest for self-determinism, since it makes the Maori that much more determined to succeed (Stephens 2004, 114).Glynn raises several points to support his claim that the indigenous public sphere is continuously expanding through global media systems (Glynn et. al 2007, 211), and distributively of the points atomic add up 18 specific to his thesis and backed up with historical events, such as the face of Aboriginal television channels, or opinions of other scholars. For instance, he refers to Kraidys termination that through aspects such as immigration and colonial expansion, the local and the global arouse long been hybridized (Kraidy 1999, 459). He also refers to Stuart Halls view that the use of global media is key for cultural and political survival of indigenous cultures (Grossberg 1996, 143), and Lisa Parks view that global media does not need to act as a official document for Western cultural imperialism, but can instead be employ to establish aspects of local culture and priorities (Parks 2005, 59). By providing an array of quotations and references to a number of people, some of whom are closely associated with the subject under discussion the Maori, Glynn presents a well-supported and thus, convincing position.The number of quotations and references which he presents depicts his analysis as one that is evidently well-researched. However, the implementation of this research at some points in the article, acts as an assay to the organization and flow of his argument. Because of the various different views he references to from various people, on that point is a section in his article where he stacks, in a sense, one point after another, where each point counters the one predate it. He begins with the dismissing of Marshall McLuhans concept of the global village as likewise idealistic (Glynn et. al 2007, 209), counters this with the point that, despite this, the concept has a love story about it which disregards the issue that the global village is discriminatively governed by the West. Nevertheless, Glynn mentions as a counterpoint to this concept of power imbalance, neoliberalism promotes the idea of a free flow of information, and this point is then, in turn, countered with the argument that the concept of a free market is overly simplistic, and can have a suppressive effect on cultural self-expression. The fears associated with Western domination of the global media market is briefly discussed sooner finally arriving at the point which supports Glynns original thesis that such a view makes the fallacious presumption that indigenous cultures do not have the ability to withstand Western imperialist power (Glynn et . al, 210). The way these points, each of which are supported by a different authors opinion, are presented sacrifices lucidity since the reader may be susceptible to losing track of Glynns primary thesis due to the bombardment of other points that are raised, each in time to the other.Despite this shortcoming, overall, Glynn presents a strong argument, with a substantial amount of support given through other opinions and relative research. The second part of the article deals specifically with Mataku, an indigenous production which has received both domestic and international success the popularity of this drama serves as an example which encompasses each of the points raised in Glynns thesis. A strength in Glynns discussion of the issue of globalization in relation to indigenous media production is, throughout the article, and primarily in the lowest section, Glynn does not present an overly idealistic view of the positive do which globalization can have on the growth of natio nal cultures. Rather, he reminds us that, despite the possibilities which globalization presents in regard to this issue, the undertakings involved in the production and popularization of indigenous media must be dealt with cautiously, and the struggles of First Nations mediamakers involving the establishment of institutions, the availability of funding, and the dominant Westernized views of mainstream media, are constant challenges. Glynn thus provides a convincing, approbative yet practical view of the ways in which the globalization of media can contribute to the growth of the indigenous public sphere and the establishing of national cultures on a global scale.ReferencesBATTISTE Marie and James Youngblood HENDERSON (2000). What is Indigenous Knowledge?, in defend Indigenous Knowledge and Heritage A Global Challenge, Saskatoon Purich produce Ltd, pp. 35 38.GLYNN, Kevin and A. F. TYSON (2007). Indigeneity, media and cultural globalization The case of Mataku, or the Maori X-File s, International journal of Cultural Studies, vol.10, no.2, pp. 205-224.GROSSBERG, Lawrence (1996) On Postmodernism and Articulation An Interview with Stuart Hall, in Stuart Hall comminuted Dialogues in Cultural Studies. Edited by David Morley and Kuan-Hsing Chen. London Routledge, pp. 131-150.Joseph STRAUBHAAR, Robert LaROSE, Lucinda DAVENPORT (2009). Media Now reason Media, Culture, and Technology. Enhanced 6th Edition. 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