Exam #2 Flashcards

(46 cards)

1
Q

6- Identity Project

A

The idea that identity is not fixed, but created and built on

TV as a major and proliferating resource for the
construction of cultural identity

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2
Q

6- Globalization of television and cultural identity

A

We are able to engage in television from al different cultures, which play a significant role in a persons identity project.

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3
Q

6- Essentialist view on identity (and examples)

A
  1. Essentialist View
    i. Something that makes you, you. This thing cannot be changed. Ex) you are white, you are Italian
    ii. There is something core and essential about us
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4
Q

6- Anti-essentialist view on identity (and

examples)

A
  1. Anti-essentialist view
    Identity is socially/ideologically constructed. Ex) gender/sexuality/stereotypical expectations in society about how people should act or be.
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5
Q

6- Simunye

A

“We are one,” is a slogan promoted by the south African broadcasting corporation in an attempt to promote cultural diversity and national unity.

However, different citizens have different cultural identities based on language, history, and traditions

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6
Q

7- Lebanon as a bundle of Paradox

A

This means the area is very ethnically + politically diverse. Historically they have had to live with negotiations due to being surrounded by so many different cultures, religions and ethnicities
Primarily liberal, but their neighboring regions are the opposite. Complexities in all areas.

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7
Q

7- Historical Context of Lebanon

A

East meets West, Muslim meets Christianity
•Contested by secular and religious, progressive and
reactionary

•Lebanon caught in civil war b/w 1974 and 1990
- this war changed everything

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8
Q

7- Maronite Culture and Identity

A

The maronites are the most prominent Christian communities in the middle east. They are caught in between west and east, Christian and Islam beliefs.

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9
Q

7- Maronites in postwar Lebanon

A

• There was a balance of political power shifted away from maronites after end of the civil war in Lebanon
-Led to Internal conflicts due to being Arab- Christian

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10
Q

7- Maronites’ hybrid identity

A

Maronites’ identity is contested b/w Arab tradition and

Western modernity

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11
Q

7- Arab- Western identity

A
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12
Q

7- Young Maronites’ reception of Western media

texts

A

Lebanon has very few media restrictions. They have the freest media system in the Arab world. This means people have access to media coming from India, the US, Britain, etc. They are influenced by the media they consume, especially Western, and this affects their ideologies.

Through shows like The Cosby Show and 90210, young maronites were able to connect and relate their personal lives to the characters.

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13
Q

7- Lebanese media landscape

A
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14
Q

7- LBC and its importance

A

Lebanese Broadcasting Corporation: has a Christian, predominantly Maronite
audience, Future TV a Sunnite following, and NBN
Shiite viewers

Political parties’ main channel during the civil war

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15
Q

7- Cultural hybridity - The Storm Blows Twice

and Ziad’s music as examples

A

The Storm Blows Twice is a television show aired in Lebanon that was different than normal shows. It discusses inner conflicts that women had, and other citizens had with the struggle between tradition and modernity. This show was able to demonstrate culture hybridity, without being offensive.

Zias is a man who brought a different type of jazz to Lebanon. He took parts of different cultures music and was inspired to create his own version. His version is very unique, and can’t strictly fall under one category (Arabic, jazz, etc.) it’s a perfect blend.

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16
Q

7- Caramel

A

Caramel is a film that showcases many instances of a struggle with culture identity in Lebanon

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17
Q

8- Big fours in global news agencies in 19th C.

A
  • French: Agence Havas, 1835 (AFP)
  • American: Associated Press (AP), 1848
  • German: Wolff, 1849 (soon ceased)
  • British: Reuters, 1851
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18
Q

8- News agencies and global news flow today

A

New competitors are rare

• Global new agencies must have global coverage before entering market

• Requires huge investment, large staff, &
large domestic market

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19
Q

8- News reporting practices: gatekeeping, agenda

setting, framing

A

Gatekeeping: the reporter or agency is deciding what is said, and what is not said.
* WHO decides upon media content?

Agenda setting in attempts to influence viewers, the media only discusses certain things about topics, drawing more attention to them. This controls what you focus on, and helps the media maintain ideological control.

  • – Media set the public agenda (define WHAT to think
    about)

Framing: *Media present content in a specific way (define
HOW to think about).

20
Q

8- Significance of Al Jazeera in global news

A

Al Jazeera is a 24-hour news agency in Qatar, that tends to share information that others won’t. Their goal is to create a bridge between peoples and cultures to support the right of the individual. They show honest and gruesome content about global issues because they believe people deserve to see what is actually going on, not just a one-sided report.

21
Q

8- Al Jazeera (basic info)

A

News agency in Qatar - Al Jazeera’s footage is rebroadcast by major global
media including CNN and BBC

22
Q

8- Al Jazeera’s major funding resources

A

Started with a $150 million grant from the emir of
Qatar, now the emir provides subsidies on a yearly basis; However, other main sources of income are advertising,
subscription fees, broadcasting deals with other
companies, and sale of footage

23
Q

8- Differences b/w American news and Al Jazeera

Reporting style, visual image, etc

24
Q

8- Supports for Al Jazeera

A
  • Presents news in language familiar to Arab
    audiences

• Leads to greater political awareness and possibility
for political mobilization

• Provides forum for debates on politics, social issues,
civic liberties, etc.

• Contributes to “democratization” in Arab societies

• Provides Arab audiences around the world
alternative to Western news channels
• (Eg. available through satellite TV in North America)

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8- Critiques of Al Jazeera
• American government is critical of Al Jazeera for being “biased” in its coverage (eg. “War on Terror”) • Many Arab governments are critical of Al Jazeera: – for creating political controversies – for pursuing sensationalism for audiences ratings – for showing Arab governments in bad light • Many Western media networks criticize Al Jazeera: – for not being “objective” in its news coverage – (for example, in the Israel-Palestine conflict) – Calling Palestinian bombers “martyrs” v.s. “terrorist"
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8- Control Room
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8- Discussion on objectivity
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10- The origin of soap opera genre
Page 93
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10- Global popularity of telenovelas
They primarily target domestic audiences, but they have received a vast number of viewers around the world. the shows have been exported to other countries. Brazil has produces over 300 telenovelas in the last 30 years The formats of the telenovelas can be recreated in places like the US EX) Ugly Betty (US) | Yo Soy Betty La Fea(Columbia)
30
10- American soaps vs. telenovelas
Telenovels are different because they... * They contain narrative closure •They are shown during the daytime and prime time •They are intended to draw a demographic audience that includes men, women and children
31
10- Mexican telenovela vs. Brazilian telenovela
The biggest thing that sets Brazilian telenovelas apart from others is the fact that Brazilian telenovelas narratives move in real time and are altered according to the audience's reactions. incorporates everyday realism into its format - Mexico's telenovelas are known for their melodramatic convention
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10- Televisa and TV Globo
TV Globo is the number one network in Brazil, 4th in the world. Televisa is Mexico's media network that broadcasts telenovelas.
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10- Significance of Beto Rockefeller
Beto Rockefeller was a telenovela in Brazil that changed the format of telenovelas. It was about a middle-class man who conned people into believing h was a millionaire. This show was significant because
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10- Telenovelas as mass pacifiers vs. agents of | social change
They do not manipulate parts of dominant ideologies; they adhere to social change by meeting real desires and needs of real people
35
10- Cultural significance of telenovela
They help form and understand everyday life. These narratives develop as the audience reacts. The audience forms real emotional attachments to characters, and in a sense lead the show to it conclusion.
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11- Definition of the Korean Wave (hallyu)
The spread of Korean popular culture overseas and throughout Asia. (Video games, dramas, music, etc.)
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11- Significance of the Korean Wave in terms of | globalization and inter-Asian cultural studies
The Korean culture industry competes within globalization. They find the perfect balance between modernity and Asian traditions. they have devoted mass amounts of money, publicity, and becoming a dream society (icons, aesthetic). -to understand media/cultural flows among East-Asian countries -To see transnational dynamics within the region
38
11- Three periods (or stages) in the Korean Wave
1st period: 1997 - early 2000s; music in China 2nd period: early 2000s - mid-2000s; drama in Japan 3rd period: mid-2000s - present; music, drama, film, game, character, and comics within/beyond East- Asia
39
11- Context of the rise of Korean Wave (3 factors)
1. The rise of capitalism in Asia, and the development of media technology 2. Media deregulation in the 1990s. 3. cultural and political relationships among east-Asian countries - KW dramas are cheaper than Japanese dramas, - Japanese colonialism in Asia
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11- Cultural proximity and its limitation
Cultural proximity is the linguistic, cultural, and regional similarities. Limitation: we cannot explain its popularity in the rest of Asian due to the difference in religions and culture convictions
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11- Racial proximity
There are shared beauty norms, clothing, and sense of Asianness that contrast typical Western outlooks “Stars of Korean TV dramas have created a new standard of beauty, and fans emulate their fashion, hairstyle, makeup and pretty faces”
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11- Autumn in My Heart and Winter Sonata | Narrative structure/storyline
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11- Four main factors that have made early Korean | dramas successful in East Asia
(1) Embracing emotional realism of melodrama to connect with young audiences (youth, love...) (2) Family-oriented narrative structure (3) Conservative nature of love scene, ‘shinpa’ narrative (overly melodramatic and tragic) (4) Preserving traditional value but at the same time feeling Asian modernity
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11- Reception and cultural consumption of | Winter Sonata
The success of Winter Sonata has created a vast amount of consumption of products related to the show. IE., Fashion, Tourism, Fan meet and greets, etc.
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11- New trends in Korean Wave (from Korea | Herald)
- filming in multiple locations in East-Asia - Casting transnational celebrities - Blurring boundaries between K-pop and K-drama
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11- My Love from the Star (difference b/w old and | new K-dramas and new strategies)