Cultural Consumption and Urban Transformation of the Global City

Author(s):  
Keisuke ENOKIDO
2019 ◽  
pp. 161-200
Author(s):  
Mikwi Cho

This paper is concerned with Korean farmers who were transformed into laborers during the Korean colonial period and migrated to Japan to enhance their living conditions. The author’s research adopts a regional scale to its investigation in which the emergence of Osaka as a global city attracted Koreans seeking economic betterment. The paper shows that, despite an initial claim to permit the free mobility of Koreans, the Japanese empire came to control this mobility depending on political, social, and economic circumstances of Japan and Korea. For Koreans, notwithstanding poverty being a primary trigger for the abandonment of their homes, the paper argues that their migration was facilitated by chain migration and they saw Japan as a resolution to their economic hardships in the process of capital accumulation by the empire.


2015 ◽  
Author(s):  
Mehmet Levent ◽  
Semih Adil ◽  
Ayse Gokbayrak

2019 ◽  
Vol 61 (1) ◽  
pp. 5-13 ◽  
Author(s):  
Loretta Lees

Abstract Gentrification is no-longer, if it ever was, a small scale process of urban transformation. Gentrification globally is more often practised as large scale urban redevelopment. It is state-led or state-induced. The results are clear – the displacement and disenfranchisement of low income groups in favour of wealthier in-movers. So, why has gentrification come to dominate policy making worldwide and what can be done about it?


Author(s):  
Retno Mustikawati

Cultural images, fantasies and imaginations are formed differently depending on location technology and characteristic of cultural consumption. When cultures of of different “symbolic structures” across national bounderies, they are influenced by historically accumulate images that each nation holds of one another. Culture consists of knowledges, beliefs, perceptions, attitudes, expectations, values and patterns of behavior that people learn by growing up in a given society. A media such as television occupies an important place in culture and society. Media messages are perceived differently according to the diverse backgrounds, cultures and life-styles of audiences. Culture as a strategy of survival is both transnational and translational. It is transnational because ithas to have physical centers somewhere, places in which, or from where, their particular meanings are produced. Culture is translational because such spatial histories of displacement now accompanied by the territorial ambitions of global media technologies.Television plays a very important role in a society. It can change opinions because it has access to audiences and gives a lot of strength. The strength that can either be used constructively or destructively. Their programs have an impact and people as the audiences listen to them.


2020 ◽  
Vol 17 (5) ◽  
pp. 462-476
Author(s):  
Alexander A. Ushkarev ◽  
Galina G. Gedovius ◽  
Tatyana V. Petrushina

The technological revolution of recent decades has already brought art to the broadest masses, and the unexpected intervention of the pandemic has significantly accelerated the process of migration of theatrical art to the virtual space, causing the corresponding dynamics of the audience. What is the theater audience in the era of digitalization and the spread of alternative forms of cultural consumption? How does the theater build its relationship with the audience today? In search of answers, we conducted a series of sociological surveys of the Chekhov Moscow Art Theater’s audience — both at the theater’s performances and in the online community of its fans. The purpose of this phase of the study was to answer the fundamental questions: do spectators surveyed in the theater and those surveyed online represent the same audience; what are their main differences; and what are the drivers of their spectator behavior? The article presents the main results of a comparative analysis of two images of the Moscow Art Theatre’s audience based on a number of content parameters by two types of surveys, as well as the results of a regression analysis of the theater attendance. The study resulted in definition of the qualitative and behavioral differences between the theater visitors and the viewers surveyed online, and identification of the factors of theater attendance for both of the represented audience groups. The study made it possible to clarify the role of age and other socio-demographic parameters in cultural activity, as well as the influence of preferred forms of cultural consumption (live contacts or online views) on one’s attitude to art, motivation and spectator behavior. The conclusions of the study, despite the uniqueness of the object, reflect the general patterns of the modern art audience’s dynamics.


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