I originally chose BCM111 as a filler subject, you know? One of the three core first year subjects. But this course has developed my understanding of the world, hence I have decided to change my Communications and Media major to International media. Prior to this course I had a brief understanding of globalisation, but not much beyond what I learnt in Year 10 Geography. So if I had to define Globalisation, before I begin this course, I would say:
Isn’t globalisation when countries communicate better with eachother?
hmm… I guess that’s a really, really simple way of putting it.
So what have I learnt?
Well, revising from my first blog post on this course, O’Shaughnessy & Stadler words, “instantaneity, interconnectedness and interdependence” come to mind. These words reflect on each weeks topic, which range from international education, hip-hop, media capitals, film, TV, global news media and false balance reporting. From O’Shaughnessy & Stadler’s key words we can understand how globalisation isn’t just about “countries communicating better”, its about how multiple forms of media, communication and technology are all interrelated.
One of my favourite weeks was on transnational film. Prior to this week I had no clue what transnational or hybridity meant. I just thought transnational film was just international film.
As our world becomes more interconnected, our world of entertainment likewise follows this trend. Consider the 2012 film Life of Pi. The film is directed by Ang Lee who is Taiwanese-US, yet based on a story by French-Canadian Yaan Martel. The film stars Indian actor Suraj Sharma, yet is filmed in Taiwan, India and Canada. The film is a great example of what is classified as transnational, yet this is beginning to be common amongst the film industry. This is identified by Schaefer and Karan as “Asian film industries, particularly those of India and China, will wrestle control of global film flows from Western Dominance”. This “wrestle” of “control” (pp.309, 2010) might explain why non-western films, such as those of East Asia, are “generating huge theatrical profits” (Schaefer & Karan, pp. 314, 2010).
Another key concept that emerged from the transnational film topic is hybridity. Hybridity is essentially an umbrella term for the mixing of cultures and races, but is elaborated by Schaefer and Karan as “central to glocalization… combining local with global cultural formations” (pp.309, 2010). In terms of transnational film, this could include iconic representations of, for instance, Taiwanese and US film styles to be incorporated with that of India. As a film shares multiple cultures, the audience size not only increases, but more importantly it becomes more involved in the film that they can relate to.
Another informative topic was on Media Capitals, which was also what I gave my group presentation on. In this topic I focused upon the popular dating show Fei Cheng Wu Rao.
As depicted in the video above, the TV show, which is produced in Nanjing, is one of the most popular in China with followings worldwide. The show continues to shock audiences, in which footage instantly goes viral around the world. Although controversial, as creator Wang Peijie claims, “through this show, you can tell what China is thinking about and chasing after”. The show isn’t just titillation and banter, its showcases in a somewhat lucrative manner the current cultural trends that are dominating throughout China (and particularly the media capital Nanjing) and their influence worldwide. This re-direction of cultural flows didn’t even cross my mind prior to this course, now it is evident everywhere.
Essentially, what I have learned from this course is that the world continues to interconnect through communication and media, that it is instantaneous where news is spread around the globe in seconds, but also that the world has become interdependent, it relies on other nations – whether it is news, film, TV or education. Globalisation is our world getting closer by the minute, yet always expanding to new great heights of achievement.
O’Shaughnessy & Stadler; Media and Society (Fifth Edition); Oxford University Press: Melbourne, 2012
Schaefer, D & Karan, K 2010, ‘Problematizing Chindia: Hybridity and Bollywoodization of popular Indian cinema in global film flows’, Global Media and Communication, vol. 6, no. 3, pp. 309-314
Globalisation Map : http://toolkit.smallbiz.nsw.gov.au/part/17/83/356
Life of Pi: http://mollyniu.wordpress.com/2013/07/02/global-multi-production-life-of-pi/