Posted: February 1st, 2023

The Creative Industries in an International Perspective

Topic: The Creative Industries in an International Perspective

Order Description
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

Cultural Imperialism
• Flew, T. (2013) Global Creative Industries. Cambridge: Polity. Chp 3
• Mirrlees, T. (2013) Global Entertainment Media. London:Routledge. Chp1
• Sparks, C. (2007) Globalization, Development and the Mass Media. London: Sage. Chps 5 & 6.
Cultural globalization
• 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
• Tomlinson, J. (1997) ‘Cultural Globalization and Cultural Imperialism’, in Mohammadi, A. (Ed.) International Communication and Globalization London: Sage.
• Sinclair, J. et al. (1997). Peripheral Vision, In New Patterns of Global Television. Oxford: Oxford University Press. Chp 1.
• Straubhaar, J. D. (2008) World Television. London: Sage. Various chapters
• Thussu, D K. (2006) (Ed) Media on the Move: Global Flow and Contra-Flow. London: Routledge. see various chps

2, Identify the ‘giant’ transnational corporations of the global creative economy. To what extent do they dominate this economy

Corporate dominance
• Jin, Dal Yong (2008) Neoliberal restructuring of the global communication system: mergers and acquisitions Media, Culture and Society, 30(3): 357–373
• Chalaby, J.K. (2011) “The making of an entertainment revolution: How the TV format trade became a global industry.” European Journal of Communication, 26(4) 293–309.
• Hardy, J. (2014) Critical political economy of the media an introduction. London: Routledge. Chp 4.
• McPhail T L. (2014, 4th Edition) Global Communication: Theories, Stakeholders and Trends, Oxford: Blackwell. Chp 7.
• Waisbord, S. (2004) “McTV. Understanding the global popularity of television formats.” Television & New Media 5(4): 359-383.
• Winseck, D (ed) (2012) The political economies of media the transformation of the global media industries. London: A&C Black. Chps 2 & 3.
• Mirrlees, T. (2013) Global Entertainment Media. London:Routledge. Chp 2

New powers
• McPhail T L. (2014, 4th Edition) Global Communication: Theories, Stakeholders and Trends, Oxford: Blackwell. Chp 14.
• Shim, D. (2006) Hybridity and the rise of Korean popular culture in Asia. Media, Culture and Society, 28(1): 25–44
• 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
• 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.
• Miller, J (2012) Global Nollywood: The Nigerian movie industry and alternative global networks in production and distribution. Global Communications 8(2) 117–133
• Straubhaar, J. (2010) Chindia in the context of emerging cultural and media powers. Global Media and Communication, 6(3): 253–262
• Straubhaar, J. D. (2008) World Television. London: Sage. Various chapters

3, What is content piracy What challenge does it pose for the corporate culture industries and how have they responded

Copyright
• 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)
• McPhail T L. (2014, 4th Edition) Global Communication: Theories, Stakeholders and Trends, Oxford: Blackwell. Various chapters

Piracy
• Karaganis, J (2011) Media Piracy in Emerging Economies. SSRC. Chp 1.
• Boyle, R. (2015) Battle for control Copyright, football and European media rights Media, Culture & Society, 1–17
• 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 – 468.
• Mattelart, T. (2009) Audio-Visual Piracy: Towards a Study of the Underground Networks of Cultural Globalization. Global Media and Communication, 5 (3): 308-326.
• Yar, M (2006) The global ‘epidemic’ of movie ‘piracy’: crimewaveor social construction Media, Culture and Society, 27(5): 677–696.
• E. Mickiewicz (2001) Piracy, Policy, and Russia’s Emerging Media Market The Harvard International Journal of Press/Politics, 6, 2, 30-51
• Marshall, L. (2004) The effects of Piracy Upon the Music Industry. Media Culture and Society 26(2):163-81.

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

Anti-consumer politics
• 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
• 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
• 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
• RItzer, G. et al., (2012) The Coming of Age of the Prosumer. American Behavioural Scientist, 56 (4) 379-39
• Comor, E. (2010) Contextualizing and Critiquing the Fantastic Prosumer: Power, Alienation and Hegemony. Critical Sociology.
• Ritzer, G. & Jurgenson, N (2010) Production, Consumption, Prosumption: The nature of capitalism in the age of the digital ‘prosumer’. Journal of Consumer Culture 10(1): 13–36.
• Mirrlees, T. (2013) Global Entertainment Media. London:Routledge. Chp 6

Culture Jamming
• Klein, N. (2000) No Logo, London: Flamingo. See Chps 12-15, 18.
• V. Carducci (2006) Culture Jamming: A Sociological Perspective Journal of Consumer Culture 6: 116-138
• 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
• Krishnamurthy S. Kucuk, U. S (2009) Anti-branding on the Internet. Journal of Business Research, 62, 1119-112
• Rumbo, J D. (2002) Consumer Resistance in a World of Advertising Clutter: The Case of Adbusters. Psychology and Marketing, 19 2: 127-147

Marking Criteria
Course work will be evaluated on the criteria below:
• 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.
• Analysis. The essay should address relevant views and arguments in an informed and critical fashion.
• Relevance. Consider the essay question carefully. The essay should answer the question.
• Evidence. The essay should be informed by a range of the relevant reading.
• Use of literature. The evidence should be used accurately, critically, appropriately and effectively.
• Understanding. The essay should display an awareness of the key issues and an ability to tackle them confidently.
• Presentation. Is the essay legible, grammatical, and fluently written.
• Referencing. All sources should be used properly referenced in the text. A full and accurate bibliography should be included
• 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

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