scholarly journals NETFLIX: CULTURAL DIVERSITY OR CULTURAL IMPERIALISM?

2021 ◽  
Vol 8 (1) ◽  
pp. 15
Author(s):  
Khansa Salsabila
Keyword(s):  
Cultural Diversity ◽  
Video On Demand ◽  
Cultural Imperialism ◽  
Global Identity ◽  
Local Television ◽  
American Popular Culture ◽  
Technology Industry ◽  
American Perspective ◽  
Cultural Power ◽  
Global Company

The global rise of Netflix as subscription video-on-demand (SVOD) has emerged along with its capitalization of film, television, and technology industry for the audience's convenience. It replaces the interest of local television with its claim of 'a global TV network' with cultural diversity in its contents. However, the term cultural diversity itself should be questioned whether it means to leave the American cultural power or it is only to claim themselves as a global company where global identity is represented in their identity to attract a wider audience. By using transnational approach, this study finds the use of cultural diversity merely to fulfill the demand of the American audience, with several globalization consequences in Netflix Original series, especially in non-American series. Those consequences are the homogenization in European-made Netflix series, where they appear to be fully Americanized with American lifestyle or American perspective, and heterogenization in Asian-made Netflix series with its collaboration of Asian culture and American popular culture. The claim of a 'global TV network' itself does not leave the American cultural power. Instead, they are taking advantage of the cultural power to retain the existing audiences and to fascinate more audiences. Therefore, the dependency of non-American producers in relying on Netflix platform as a way to reach global audience, even the use of Americanization to their works for global audience's satisfaction, confirms the cultural power of America in its ability to bring economic advancement to other countries.

Anti-Americanism in Retreat: Jack Lang, Cultural Imperialism, and the Anti-Anti-Americans

2011 ◽  
Author(s):  
Richard F. Kuisel
Keyword(s):  
United States ◽  
Popular Culture ◽  
Mexico City ◽  
The United States ◽  
Cultural Imperialism ◽  
American Film ◽  
Film Festival ◽  
American Popular Culture ◽  
Movie Star

This chapter details the rise of anti-Americanism in France, in particular French socialist minister of culture Jack Lang's attack against American popular culture. Lang began by refusing to attend the American film festival at Deauville in September 1981; several months later he gave a notorious address denouncing American cultural imperialism at a UNESCO conference in Mexico City; and then he tried to organize a global “crusade” to combat cultural imports from the United States. Lang was a flamboyant young politician whose movie-star good looks, iconic pink jacket, dramatic initiatives, and hyperactive ways won him both admiration and ridicule. He presided over the Ministry of Culture from 1981 to 1986 and again from 1988 to 1993.

From state-controlled media to video-on-demand platforms: Rethinking global cultural flows and television viewers’ changing habits in the case of Turkey

2020 ◽  
Author(s):  
Serhat Kaymas
Keyword(s):  
Digital Divide ◽  
Video On Demand ◽  
Cultural Imperialism ◽  
On Demand ◽  
Public Media ◽  
Cultural Proximity ◽  
Changing Patterns ◽  
Class Status ◽  
Modernization Process ◽  
Cultural Discount

This study aims to open a discussion on the changing face of cultural imperialism within the context of contemporary capitalism’s conditions and the changing habits of Turkish television viewers. Although the past two decades have witnessed a growing interest in both the changing patterns of television viewing habits and viewers’ class status, this process has focused almost exclusively on the West and specifically Euro-American metropolitan viewers’ experiences. By contrast, very few studies have directly addressed other contexts, specifically, television viewers in non-western countries. Based on cultural proximity and cultural discount theories, this study analyses the reasons and outcomes behind Turkish television viewers’ ongoing tendency towards the video-on-demand platforms, such as Netflix, HBO, Hulu, Amazon Prime Video or their domestic counterparts, like Puhu or Blu TV, under Turkey’s ongoing modernization process. The results suggest that video-on-demand platforms provide particular interest for television viewers while offering relative freedom from state-controlled public media or strictly regulated private channels. Nevertheless, these platforms have appealed to both Turkish upper-middle-class viewers and younger viewers who have the cultural background to enjoy and appreciate the content on offer. This study also indicates how access to streaming platforms in Turkey mainly relies on the class status of television viewers, and that this kind of cultural flow, to some extent, creates a digital divide in Turkey.

From state-controlled media to video-on-demand platforms: Rethinking global cultural flows and television viewers’ changing habits in the case of Turkey

2020 ◽  
Author(s):  
Serhat Kaymas
Keyword(s):  
Digital Divide ◽  
Video On Demand ◽  
Cultural Imperialism ◽  
On Demand ◽  
Public Media ◽  
Cultural Proximity ◽  
Changing Patterns ◽  
Class Status ◽  
Modernization Process ◽  
Cultural Discount

This study aims to open a discussion on the changing face of cultural imperialism within the context of contemporary capitalism’s conditions and the changing habits of Turkish television viewers. Although the past two decades have witnessed a growing interest in both the changing patterns of television viewing habits and viewers’ class status, this process has focused almost exclusively on the West and specifically Euro-American metropolitan viewers’ experiences. By contrast, very few studies have directly addressed other contexts, specifically, television viewers in non-western countries. Based on cultural proximity and cultural discount theories, this study analyses the reasons and outcomes behind Turkish television viewers’ ongoing tendency towards the video-on-demand platforms, such as Netflix, HBO, Hulu, Amazon Prime Video or their domestic counterparts, like Puhu or Blu TV, under Turkey’s ongoing modernization process. The results suggest that video-on-demand platforms provide particular interest for television viewers while offering relative freedom from state-controlled public media or strictly regulated private channels. Nevertheless, these platforms have appealed to both Turkish upper-middle-class viewers and younger viewers who have the cultural background to enjoy and appreciate the content on offer. This study also indicates how access to streaming platforms in Turkey mainly relies on the class status of television viewers, and that this kind of cultural flow, to some extent, creates a digital divide in Turkey.

Multinational Teams: The Human Challenge to Global Organizations

Upravlenie ◽  
2015 ◽  
Vol 3 (3) ◽  
pp. 55-60
Author(s):  
Тиаги ◽  
Parul Tyagi
Keyword(s):  
Cultural Diversity ◽  
Competitive Advantage ◽  
International Business ◽  
External Environment ◽  
Global Teams ◽  
Global Organizations ◽  
Cultural Traditions ◽  
Multinational Team ◽  
World Markets ◽  
Global Company

Multinational teams are the teams consisting of representatives from diverse cultural traditions. Evolution of these global teams can be used as competitive advantage allowing making of new and effective business solutions. With expanding of world markets and international business competition increasing comes a corresponding demand for organizations and individuals which are ready to word in this new area of global trade. Evolution of the global teams provides strategies and ideas to take leading positions. Global organizations must manage cultural diversity to create synergies both within the company and between the company and its external environment. Competence to direct the multicultural/multinational team is very important for a truly global company.

“A sick man’s dream”: Jephthah, Judges, and Blake’s Visions of the Daughters of Albion

2007 ◽  
Author(s):  
Lisa Crafton
Keyword(s):  
Eighteenth Century ◽  
Cultural Imperialism ◽  
Free Love ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Cultural Power ◽  
A Site ◽  
Sexual Power ◽  
Sexual Repression ◽  
British Culture

Abstract Even a cursory reading of the eleventh chapter of Judges suggests obvious parallels between the Jephthah story and Blake’s Visions of the Daughters of Albion; however, Blake’s six illustrations of Judges (including two of Jephthah and his daughter) irrefutably document his appropriation of the story. No critic has connected the Jephthah story of virgin sacrifice to Oothoon’s fate, nor have Blake’s illustrations of the Judges narrative received much attention. My argument is that Blake’s contrary reading of the book of Judges should inform our critical reading of Visions. This intertextual analysis emphasizes the poem’s representation of the female body as a site of sacrifice and how both Blake’s illustrations and the poem position readers for this spectacle of virginity and violence. Reading Blake’s illustrations of the Jephthah narrative—visual revelations of issues of sexual power—amplifies the poem’s cultural power, its iconic representation of a patriarchal obsession with virginity, demonstrable in late eighteenth-century British culture but with ties to biblical, Hebraic representations of virginity and violence. Blake’s culturally-targeted revision of Jephthah’s daughter defies eighteenth-century British cultural strictures about female purity and marital customs by transforming the daughter virgin’s lament at not being able to marry into Oothoon’s redefinition of sexual purity. Further, my reading refutes the widespread critical opinion that in the ending of the poem, the heroine Oothoon offers free love that is, in Mellor’s words, a “male fantasy,” serving the interests of the “male libertine, ”and underscores the poem’s critique of mandated female virginity and culturally-endorsed violence. Finally, Finally, the illustrations and the poem document Blake’s engagement with this biblical book where Israel’s destiny unfolds through accounts of judges who again and again misjudge, who enact sexual violence and fail to see its connection with their own violent ends. Blake’s Visions begins and ends with a chorus of daughters—in between it chronicles the horrors of exploitation, rape, slavery, cultural imperialism and links those to individual sexual repression, like Theotormon’s troubled image of Oothoon, like Jephthah’s sacrifice of his daughter, truly a “sick man’s dream.”

scholarly journals The «4Cs» of cultural diversity in consumer research: a literature review and research agenda

2016 ◽  
pp. 194
Author(s):  
Lachezar Ivanov
Keyword(s):  
Cultural Identity ◽  
Cultural Diversity ◽  
Identity Formation ◽  
Consumer Research ◽  
Global Citizenship ◽  
Relevant Literature ◽  
Global Identity ◽  
Advertising Appeals ◽  
Consumption Practices

The article focuses on the role of cultural diversity in consumer research. The topic was approached in a non-empirical manner utilizing relevant literature published in the period 2011-2015 in A+ to C ranked journals. Four themes emerged and were integrated into the «4Cs» research taxonomy: Consumer differences, Consumption practices, Complexity in research, and Communication advice for practitioners. Two distinctive streams of research on the topic were identified. The first one concentrates on biculturals by birth or by migration. The second one investigates attitudes towards cultural diversity through identity formation. Important findings from the first stream are that cultural competence impacts the allocation of decision making roles, biculturals are more willing to consume diverse products, and biculturals react positively toward both individually or interpersonally focused advertising appeals. The second stream, related to attitudes towards cultural diversity, identifies that cultural identity impacts consumer behavior. Cultural identity can be approached as national vs. global identity, or as local vs. global identity, or from a position of the global citizenship.

scholarly journals “Plus que jamais nécessaires”: Cultural Relations, Nationalism and the State in the Canada-Québec-France Triangle, 1945–19601

2009 ◽  
Vol 19 (1) ◽  
pp. 279-305 ◽  
Author(s):  
David Meren
Keyword(s):  
Cultural Imperialism ◽  
Cultural Relations ◽  
Canadian Identity ◽  
State Involvement ◽  
Cultural Sphere ◽  
Cultural Power ◽  
Triangular Relationship ◽  
The 1960S ◽  
Relationship Of ◽  
Second World

Abstract Charles de Gaulle’s cry of “Vive le Québec libre!” during his 1967 visit to Montreal was the product of the convergence of Canadian, Quebecois and Gaullist nationalist reactions to preponderant US influence and globalization’s rise after 1945. The dynamic was especially pronounced in the cultural sphere. Consistent with the trend towards increased transnational exchanges, cultural relations grew in the Canada-Quebec-France triangle in the fifteen years after the Second World War. Quebec neo-nationalism’s rise was accompanied by a greater appreciation of France as an ally as Quebec strove to preserve its francophone identity. Such preoccupations corresponded to French apprehensions about the ramifications on France at home and abroad of American cultural ‘imperialism.’ In addition to nationalist concerns in France and Quebec, English Canadian nationalists were preoccupied with American influences on the Canadian identity. If these three interacting nationalist reactions shared a preoccupation about American cultural power and Americanization that encouraged a growing state involvement in culture and promoted greater exchanges, the differences between them also helped set the stage for the tempestuous triangular relationship of the 1960s.

scholarly journals American Cultural Imperialism in 1960s Japan as Seen in Haruki Murakami’s Norwegian Wood

2020 ◽  
Vol 11 (1) ◽  
pp. 1
Author(s):  
Bhakti Satrio Nugroho
Keyword(s):  
United States ◽  
Popular Culture ◽  
World War Ii ◽  
Adult Life ◽  
The United States ◽  
Cultural Imperialism ◽  
Cultural Changes ◽  
American Popular Culture ◽  
Post War ◽  
The 1960S

Haruki Murakami is mostly well-known for his many works and is considered as one of the most influential writers in Japan. One of his greatest works is a nostalgic novel Norwegian Wood which named after The Beatles song, Norwegian Wood (This Bird Has Flown) in their album Rubber Soul (1965). It becomes #1 bestselling novel in Japan. This novel resembles many aspects of “Americanization” of Japanese young adult life in the 1960s Japan which was strongly influenced by American popular culture. Many Japanese in this novel adopt Western culture which was popular in the United States. Hollywood and American music became central part of the main story in Haruki Murakami’s Norwegian Wood. By using cultural imperialism theory, this research focuses on the imposition and glorification of American culture in 1960s Japan which is celebrated as part of central storyline. American cultural imperialism can be seen in dissemination and glorification of American popular culture and American way of life (lifestyle) among Japanese young adults. Furthermore, they create many social and cultural changes. It is further helped by the post-war Japanese’s inferiority after losing to the United States in World War II. In fact, Western thoughts and beliefs are part of “American gifts” during U.S occupation which disseminate even after the end of occupation. Thus, this historical postcolonial relationship between Japan (as the colonized) and the United States (as the colonizer) massively supports “Americanization” of 1960s Japan which results a loss of identity and a cultural dependency of Japan toward the United States.

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