Written by Jiawei Chen
Globalization has organized the way differently film and television is made across the globe. Professionals who produce television shows and movies to provide entertainment and education to viewers take stances on issues and convey their values related to culture or religion. Some theorists contend that thanks to globalization the Western countries have restore enormous influence over production and distribution of TV shows and movies. Such influence from the West is certainly not to be sneezed at, but cultural producers turn out in force who call into question the notion of Western dominance and influence.
Technological advances in our world have enabled us to participate to a greater extent in production and viewing of television and film. Even with much more involvement, critical theorists have disputed the impact of influence from the West upon production. Havens (2007, p.6) portrays globalization has influenced the way childhood ideals are delineated by means of television; he maintains that division of the market of children television through worldwide advertising companies engenders lives within the bounds of this industry in regard to constant likes of children. Professionals who produce children’s television make some attempt to cater for a universal child who is in large measure a middle-class boy from the West, whose taste originates from his biological age instead of being moulded by his culture. Moreover, the preponderance of children’s channels in the American market has rendered it well-nigh impossible for independent producers to succeed in commercial terms. Other popular children’s television is affected by the West to boot. In actual fact, there are local and indigenous productions.
The ubiquity of technology has enabled indigenous populations to create their own productions that serve to transmit local traditions and history to succeeding generations. Salazar & Gauthier (2008, p.287) indicate that the new cultures view the technology in gloabalization as a method for promoting political land social change via introducing your traditional and local stories into the narrative of national. Indeed, the new modes of cultural expression might be connected to the globalization. Manfred (2003, p.7) References a sociologist Roland Robertson who holds a firm belief that cultural exchanges all over the world give new strength to local cultural niches, a process known as global localization, namely complicated global and local interaction featured by cultural borrowing; the resulting expressions of hybridity cannot be simply categorized as similarities or differences. Bollywood serves as a prime example of the process of globalization. Tyrrell (2004, p.355) contend that even though films produced by both groups bear some resemblance, Bollywood films prove to be highly distinctive and culturally relevant. Bollywood films present beliefs with reference to culture, religion and politics, and frequently resort to song-and-dance. To local people, the films are regarded as a way to counteract cultural imperialism from the West, and preserve nationalistic pride. By the same token, Bollywood functions as an enormous profitable industry and is wielding much influence in cultural terms. The Bollywood film industry’s influence demonstrates that westernization is likely to be resisted as powerfully in various forms.
Besides, telenovelas seriously threaten the ideal of dominance in film and television production from the West. Martinez (2005, p.48) depicts how Telenovelas secured a predominant place in the marketplace all over the world in his reading Romancing the Globe. In the course of 1916, Telenovela became popular in Mexico, Venezuela and Brazil. These shows greatly interest all family members are highly relatable and they narrate stories about common characters living in poverty. Telenovelas turned out to gain popularity in developing countries, particularly in countries of Latin America and the Philippines, and even attracted a wide audience in post-communist Russia. In the same way as Bollywood, the producers of Telenovelas through in western dominance as a number of shows have proved important shows in America and found broad audiences across the globe. As telenovela has turned out to become more and more known, it is not clear whether they are going to retain their position as constituting Hollywood or Latin American bulletin to reproduce the popular television series. Despite producers’ attempts to imitate the cinemas of Bollywood, Hollywood producers have failed to achieve much success. Hollywood is likely to attempt to produce telenovela again, but cultural aspects may be most likely missing and they will not gain as much popularity as the shows produced in Latin America.
It is undeniable that globalization has exerted enormous influence upon production of filming television. Due to globalization of western control of culture themes, the diffusion of technology makes it possible indigenous groups to transmit cultural beliefs to younger generations. Indigenous productions on a small scale do not issue a threat to impact from the West, yet they still prove very difficult and important to their producers. On the contrary, Bollywood films and telenovelas are differentiated from Western productions, with individuality flying in the face of cultural homogenization theory.
Havens, T. (2007). Universal childhood: the global trade in children’s television and changing ideals of childhood. Global Media Journal, 6.
Manfred, S. (2003). Globalization as a contested conpt. Globalization: A very short introduction. Oxford : Oxford University Press, pp.7.
Martinez, I. (2005). Romancing the globe. Foreign Policy, (151), 48.
Tyrrell, H. (2004). Battle of the dream factories. Film Theory: Critical Concepts in Media and Cultural Studies, 4, 355.
Salazar, J. F., & Gauthier, J. (2008). Rethinking the digital age. Global indigenous media: Cultures, poetics, and politics. P. Wilson, & M. Stewart (Eds.). Duke University Press, pp.287.