"This article focuses on international news channels in the Global South and the perceptions by audiences in Latin America. Designed with the intention of re-shaping global narratives, international broadcasting is considered instrumental to public diplomacy and improving the image of particular cou
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ntries. While many studies focus on global media policies of specific countries or the messages broadcast by international media outlets, less attention has been paid to the impact on audiences. Based on a series of focus groups conducted in Mexico and Argentina, this article discusses how Latin American audiences perceive public diplomacy efforts as channelled by international news media and their effect on country image perception, by focusing on China’s CCTV-E, Russia’s RT and Iran’s HispanTV. The findings show that preconceived images contribute to undermine the acceptance of international broadcasters. In addition, participants were optimistic about RT’s prospects of success in Latin America, hesitant about HispanTV and pessimistic about China Central Television." (Abstract)
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"Transnational Korean Television: Cultural Storytelling and Digital Audience provides previously absent analyses of Korean TV dramas' transnational influences, peculiar production features, distribution, and consumption to enrich the contextual understanding of Korean TV's transcultural mobility. Ev
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en as academic discussions about the Korean Wave have heated up, Korean television studies from transnational viewpoints often lack in-depth analysis and overlook the recently extended flow of Korean television beyond Asia. This book illustrates the ecology of Korean television along with the Korean Wave for the past two decades in order to showcase Korean TV dramas' international mobility and its constant expansion with the different Western television and their audiences. Korean TV dramas' mobility in crossing borders has been seen in both transnational and transcultural flows, and the book opens up the potential to observe the constant flow of Korean television content in new places, peoples, manners, and platforms around the world." (Publisher description)
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"Media Culture in Transnational Asia: Convergences and Divergences examines contemporary media use within Asia, where over half of the world's population resides. The book addresses media use and practices by looking at the transnational exchanges of ideas, narratives, images, techniques, and values
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and how they influence media consumption and production throughout Asia, including: Sri Lanka, Bangladesh, South Korea, Singapore, Vietnam, Afghanistan, Iran and many others. The book's contributors are especially interested in investigating media and their intersections with narrative, medium, technologies, and culture through the lenses that are particularly Asian by turning to Asian socio-political and cultural milieus as the meaningful interpretive framework to understand media." (Publisher description)
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"In the age of multiple screens, online streaming has in the 2010s become the most significant way of consuming overseas television programs in Mainland China. Due to rather strict government policy and censorship, foreign television series are presently only legally distributed and circulated on li
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censed online streaming services. Focusing on the streaming of US/UK TV series, this paper examines online streaming services’ distribution activities in order to understand both streaming websites’ business practices surrounding transnational TV and the features they employ to cater to online audiences for these series. To grasp how the online distribution of English language TV series operates in China, I begin by looking at China’s five major video streaming services, analyzing the design of their interfaces, scheduling of programs, and accessibility for different tiers of users. I then examine how streaming services use social media as a major tool to promote their US and UK TV series. Through this analysis, I argue that transnational TV flow has had to be localized to achieve distribution and marketing goals in a Chinese context, resulting in the uniqueness of these streaming practices. This article concludes that, with the development of online streaming technologies, distinctive modes of au dience consumption in China have informed the localization of this specific transnational TV content." (Abstract)
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"International trade in creative industries showed sustained growth in the last decade. The global market for traded creative goods and services totaled a record $547billion in 2012, as compared to $302 billion in 2003. Exports from developing countries, led by Asian countries, were growing faster t
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han exports from developed countries. Among developed country regions, Europe is the largest exporter of creative goods. In 2012, the top 5 creative goods exporters included Germany, France, Switzerland, the Netherlands and Belgium. Exports of creative goods from developed economies grew during the period 2003 to 2012, with export earnings rising from $134 billion to $197 billion. Among developing countries, China is the largest exporter of creative goods. In 2012, the top 5 exporters were China, Hong Kong, China, India, Turkey and South Korea. Exports of creative goods from developing economies grew during the period 2003 to 2012, with export earnings rising from $87 billion to $272 billion. Developing countries are playing an increasingly important role in international trade in creative industries." (Executive summary)
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"This study in a way established that soap operas have some positive contributions to the society. For example, the study shows that youth become more confident and social after watching soaps. However, in agreement with the objectives of this study, the negative effects of soap operas on young peop
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le overwhelmingly outweigh the positive impacts. For example, this study showed how relationships break after watching telenovelas; In addition, outside-marriage affairs increased or are considered normal after youths’ watch telenovelas." (Conclusion remarks, page 41)
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"Die Autorin geht der Frage nach, welche deutschen Fernsehsendungen nach China importiert und wie diese in einer Gesellschaft aufgenommen werden, die kulturell vollkommen anders geprägt ist als die deutsche. Der Fokus der Arbeit liegt auf der Herausarbeitung von Kriterien für die Auswahl von Ferns
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ehsendungen für den chinesischen Markt. Gleichzeitig werden die Besonderheiten in Adaption und Rezeption konkreter deutscher Fernsehsendungen wie etwa Wissen macht Ah!, Mein Mann kann und Knallerfrauen in China herausgestellt." (Verlagsbeschreibung)
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"The transformation of the U. S. Hispanic and Latin American television industrial landscape is slowly reshaping the composition of interregional programming flows, with an increasing presence of transnational corporations competing in different modalities in national markets. While long-standing do
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minant Latin American media corporations still hold a disproportionately hegemonic position in their domestic markets, the production of culturally proximate products is no longer the prerogative of national networks. The transnational invites us to reflect on the new sets of collaborations and transnational industrial structures of production, distribution, exhibition, and consumption resulting from the interrelated institutional relationships among television corporations across the region." (Abstract)
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"Since China implemented animation control policies in 2004, foreign animation programmes have almost disappeared from Chinese television. At the same time, the Chinese government has invested enormous amounts of money in developing the animation industry as a creative industry. A questionnaire surv
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ey was conducted to explore how the Chinese audience views domestic and foreign animation programmes. The results indicate that pirated Japanese animation is widely viewed via the Internet by adolescents; on the other hand, domestic animation is popular only among children. Preferences for domestic animation correlate positively with age and patriotism but negatively with Internet use, while preferences for Japanese animation correlate negatively with age and patriotism but positively with Internet use. These results show that nationalistic sentiments are associated with preferences for either domestic or foreign animation programmes. However, preferences for Japanese animation are not significantly associated with anti-government attitudes." (Abstract)
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"This article explores the consumption patterns of local and foreign film and television content of Mexican audiences living in the Northeast region of the country, a region bordering with the United States. Based on telephone surveys in four of the largest cities in the area (Reynosa, Monterrey, Sa
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ltillo and Torreón), the study presents data about television consumption that suggest that cultural proximity factors are stronger in Mexican northerners than their geographical, commercial and historical proximity to the US. The concept of cultural discount seems to apply in this part of Mexico, due to the differences in language, practices and traditions despite the proximity and familiarity with US culture (except in the case of Hollywood films, as in many other countries in the world)." (Abstract)
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"The essays in this volume reflect a wide-range of issues and concerns related to children’s media culture in Africa. For example, several address the role of entertainment television in Addis Abba, Ghana, South Africa, Kenya, and Zambia and in the lives of Muslim children. Other essays introduce
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us to children-centered media from Ghana, South Africa, and Zimbabwe, and the innovative programs of PLAN-International. In addition to entertainment media and children-centered media, media education and digital media literacy are also discussed." (Publisher description)
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"By examining recent developments in the world system of television as well as several theories of culture, industry, genre, and audience, author Joseph D. Straubhaar offers new insights into the topic. He argues that television is being simultaneously globalized, regionalized, nationalized, and eve
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n localized, with audiences engaging it at multiple levels of identity and interest; therefore the book looks at all these levels of operation." (Publisher description)
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"In der vorliegenden Arbeit werden die Rahmenbedingungen für Markteintritte ausländischer Fernsehprogrammanbieter in den chinesischen Rundfunkmarkt dargestellt, analysiert und Entwicklungsmöglichkeiten aufgezeichnet. Dabei ist festzustellen, dass das Rundfunksystem der VR Chinas darauf ausgelegt
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ist, den Binnenmarkt mit Hilfe des Auslands zu verbessern. Die Begründung für unterschiedliche Ausmaße ausländischer Markteintritte kann aus theoretischer Sicht mittels produktiver und allokativer Ineffizienzen des Binnenmarktes dargelegt werden, dessen Produktionen qualitativ unterdurchschnittlich und zu teuer sind. Produktive Ineffizienzen treten auf, da planwirtschaftliche Organisationsstrukturen wettbewerbliches Verhalten zwischen den Marktteilnehmern verhindern und darüber hinaus kein Anreiz besteht, Fernsehprogramme effizienter zu fertigen. Allokative Ineffizienzen treten auf, da der Staat mit der Bereitstellung von Fernsehprogrammen das Ziel verbindet, Propaganda zu verbreiten. In diesem Sinne kˆnnen entsprechend dem ersten Zwischenergebnis die Bereitstellung hochqualitativer und eine hohe Einschaltquote versprechende ausländische Fernsehprogramme als Propagandarahmenprogramm verstanden werden: Den Konsumentenpräferenzen entsprechend werden Fernsehprodukte bereitgestellt, um eine allokative Verbesserung zu erreichen und zugleich das politische Ziel zu erfüllen, im Rahmenprogramm ausländischen Programms Propaganda zu verbreiten." (Zusammenfassung und Ausblick, Seite 69)
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"A la fois étude rigoureuse et pamphlet, Les télévisions africaines sous tutelle invite à une plongée dans l'univers audiovisuel africain. Ce voyage édifiant alliant données statistiques et analyse des programmes met à jour, en se centrant sur l'exemple camerounais, la collusion des télévi
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sions nationales avec les pouvoirs politiques, la désinformation, l'acculturation, l'invasion du sport et des émissions occidentales." (Description de la maison d'édition)
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Studies the legal, economic, cultural and political implications of trans-border television, focusing on Japan, the Philippines, India, Malaysia and Hong Kong.