Midterm Examination Questions, Essay Example

• Hesmondhalgh asks “what opportunities are there for cultural producers from outside the ‘core’ areas of cultural production to gain access to new global networks of production and consumption” (277). Discuss, with reference to one cultural industry (television, film, popular music, news), at least two course texts, and class discussion.

The opportunities available for cultural producers from outside the ‘core’ areas of cultural production to gain access to new global networks of production and consumption include overturning cultural flows. This means that non-core nations that produce TV may gain additional presence within the global television market. For instance, Latin American nations such as Venezuela turned into exporters of substantial amounts of TV programming to other nations, not merely within the geocultural marketplace of Spain, but to countless other states such as the United States, which are known to be at the geological center of cultural industries. Another opportunity available is the transnational television broadcast and reception. The television industry can increase transmission of TV channels across, as well as beyond nationwide borders (Hesmondhalgh 280). Reception across borders potentially develops cultural consequences. For instance, within Punjabi households, the concurrence of TV programs that are culturally varied inspires cross-cultural examinations of media texts that are contrastive within the households. Satellite transmissions can be utilized as a major example of boosting flows of mores across nationalized borders by the television industry. The television industry can export journalistic professionalism. The television industry needs to have a film industry that is exceedingly developed, along with huge numbers of employees who are practical and creative. For instance, Al-Jazeera characterizes the brave newfangled globe of varied and ingenious television. The television industry can increase the transmission of satellite news that is not censored given that there is demand for this kind of news all over the globe (Hesmondhalgh 282). It can also set up regional news through the hiring of a journalists’ labor force that is trained within public service views of impartiality and professionalism. This means that the television industry is supposed to make a commitment to the region so that it can have the capacity to operate sovereign of regime control. The television industry has the aptitude to concentrate the expenditure of advertising and optimize effects through the promotion of movies that brings about the rise within marketing expenses (Cucco 222). The television industry can also utilize developed television formats to redevelop the formats and build up their own. This depicts format development and exchange within nations to produce captivating cultural phenomena. A good example of this is to adapt reality television for cultural producers from outside the ‘core’ areas of cultural production to gain access to new global networks of production and consumption. This is because of its convolution and ambivalence (Hesmondhalgh 284).

• Havens and Lotz claim that “media industries both depend on and fear changes in technological conditions” (Technological Conditions of the Media Industries, 62). As they suggest, select a specific technological development and discuss why an existing corporate media industry would have welcomed and resisted that change. With reference to at least two course texts discuss what was at stake for the legacy industry and for the challengers? How did the technology end up affecting production of particular media texts?

Sampling within rap music is a technological development, which refers to the strategy of getting music that has been previously recorded from an assortment of varied sources, and merging them into a novel song or piece of music. The existing corporate media industry would have welcomed sampling within rap music because it rapidly became relatively simple and somewhat cheap to obtain music from various sources, along with the sounds, which came to control rap music were nearer to collage compared to the synchronizations that are found within soul, rock, and R&B, the most instantaneous rap precursors. Additionally, the primary artistic unit within contemporary music revolutionized by DJ’s who initially worked with albums that were vinyl, along with tape machines, had the capacity to create music exclusive of other band associates, basically working as a band of just one individual (Havens and Lotz 58).

The existing corporate media industry would have resisted sampling within rap music because regulatory conditions arose. The epoch of collage sampling rapidly attracted the courts, as well as regulators, given that the majority of samples were utilized exclusive of the permission or compensation to the real artist. The courts then passed a law that held that whichever utilization of music that has been recorded before devoid of the copyright holder’s consent is illegal. Additionally, since utilizing samples needs the royalty payment to the copyright holders it would add costs to the music production (Tschmuck 180).

The legacy industry would utilize a lot of money to compensate the copyright holder and to utilize all the sample songs required to come up with a new song. Additionally, the legacy industry would face a jail term or pay a hefty fine. On the other hand, the challengers would not be able to have their songs in their original. In addition, the legacy industry would take credit for the work that the challengers would do. The technology ended up affecting production of particular media texts through remediation. For example, at what time USA Today started publishing, it differentiated itself through the utilization of graphics that were full of color so that it could imitate the type of visuals viewed on TV news broadcasts. The newspaper was also sold within unique vending machines, which were made to look like television sets. Additionally, there have been transformations in sports that are televised, specifically, specialized NFL football that has started to utilize a camera, which works analogously to that within programmed NFL games. Cameras are hung up from zip cables over the quarterback’s head or even at the level of the eyes in the rear of the sports ground-goal kicker. The newer shots appear like computer playoffs and need quite dissimilar proficiencies in managing cameras and checking over the live feed taking place in games. Sampling within rap music has made the work of camera operatives and editors more multifaceted because of the efforts to imitate computer sport texts (Havens and Lotz 59).

Works Cited

Cucco, Marco. The promise is great: the blockbuster and the Hollywood economy. Media Culture Society. London: SAGE, 2009. Print.

Havens, Timothy and Amanda, Lotz. Technological Conditions of the Media Industries. Understanding Media Industries. New York: Oxford University Press, 2012. Print.

Hesmondhalgh, David. Internalization: Neither Globalization nor Cultural Imperialism. The Cultural Industries. 3^rd edition. London: SAGE, 2012. Print.

Tschmuck, Peter. The Cycles of Creativity in the Music Industry. Cultural Expression, Creativity, and Innovation. Anheier, Helmut K, and Yudhishthir Isar. London: Sage Publications, 2010. Internet resource.