By Frederic Martel
¿Por qué triunfan Avatar, Shakira, Spielberg, Mujeres desesperadas, Slumdog Millionaire, Disney, Michael Jackson o M.T.V.? ¿Cómo se fabrican los most sensible dealers, los discos superventas y los grandes éxitos de taquilla? ¿A qué se debe el predominio de l. a. cultura estadounidense y por qué está ausente Europa de esta gigantesca batalla cultural a escala mundial? Para responder a estas preguntas, el sociólogo y periodista Frédéric Martel ha llevado a cabo una ambiciosa investigación de más de cinco años por treinta países, entrevistando a mil doscientas personas en todas las capitales del leisure, de Hollywood a Bollywood, de Tokio a Miami, del cuartel normal de Al Yazira en Qatar a los angeles sede del gigante Televisa en México. Y su conclusión es inquietante: l. a. nueva guerra mundial por los contenidos ha comenzado. En el corazón de esta lucha: los angeles cultura mainstream, originalmente diseñada y comercializada por potentes industrias del entretenimiento en Estados Unidos que extienden su influencia hasta el último rincón del planeta gracias a productos cuyas estrategias de creación y difusión resultan fascinantes. A l. a. vez, nuevos países emergen con sus medios de comunicación y sus propias diversiones masivas. net multiplica su poder. Todo se acelera. En India, en Brasil o en Arabia Saudí se compite por dominar los angeles internet y ganar los angeles batalla de los angeles influencia cultural. Se quiere controlar las palabras, las imágenes y los sueños. Este libro cuenta esta guerra international de l. a. cultura. Y explica lo que hace falta hacer para gustar a todo el mundo. . . en todo el mundo.
Read or Download Cultura Mainstream: Cómo nacen los fenómenos de masas PDF
Best pop culture books
They’re now not the scholars walking around the bucolic liberal arts campuses the place their grandfathers performed soccer. they're first-generation university students—children of immigrants and blue-collar workers—who recognize that their hopes for fulfillment hinge on a level. yet university is dear, strange, and intimidating.
By means of exploring the studies of neighborhood activists and corporations operating with info and verbal exchange know-how (ICT) to construct groups, this ebook bargains a grounded and trained learn of the position ICT performs in people's lives. the writer emphasizes the significance of networks equipped round belief, shared areas and native wisdom bases within the formation of important relationships in modern Western societies.
Can visible paintings aid redeem one’s experience of self, broken by means of technological society?
Michael Snow’s paintings is frequently defined as self-referential, that means that it “talks” concerning the relationships among its fabrics and photographs, principally ignoring relationships past the “frame. ” even though, because the paintings additionally encompasses the best way the inner dating of the paintings intersects with sight and the way they, jointly, create the body, the paintings additionally needs to contain the folk taking a look at it.
This e-book explores how the visible paintings perform of Michael Snow asks the query Who? of the audience as they interpret what lies earlier than them. a lot feedback of Snow objectively analyzes the fabric interrelationships in his paintings, ignoring viewer participation, and implicitly giving the artist regulate of the view. despite the fact that, what if the “who” is addressed from the point of view of the viewer, who's having a look throughout a spot created through concrete illustration, time, position, event and, maybe, gender? How then can it stay objective?
Following on writers equivalent to Martin Heidegger, Walter Benjamin, Paul Ricoeur, Jacques Derrida and Mikkel Borch-Jacobsen, Figuring Redemption questions the idea that the modern experience of self is “fallen” due to smooth know-how, yet will be redeemed in a few half by way of convinced types of visible art.
Original in its positioning of interpretive and important writing at the part of an embodied viewer, this e-book rejuvenates Snow feedback by means of going past discussions of fabrics and operation or of loss and distancing as a result of mediation. via alternating own functionality writing with goal research, the textual content participates within the destabilizing technique of wondering self-recognition that Snow’s perform initiates.
An in-depth exploration of electronic tradition and its dissemination, Sharing deals a counterpoint to the dominant view that dossier sharing is piracy. as a substitute, Philippe Aigrain appears on the advantages of dossier sharing, which permits unknown writers and artists to be favored extra simply. Concentrating not just at the cultural enrichment because of largely shared electronic media, Sharing additionally discusses new financing versions that might let works to be shared freely through contributors with no goal at revenue.
- Transnational Stardom: International Celebrity in Film and Popular Culture
- The Routledge Companion to Global Popular Culture
- Star Wars on trial : science fiction and fantasy writers debate the most popular science fiction films of all time
- Cached : decoding the Internet in global popular culture
- Archaeology is a Brand! The Meaning of Archaeology in Contemporary Popular Culture
Extra info for Cultura Mainstream: Cómo nacen los fenómenos de masas
In their study of music, (Page-Garland 2009) also studied sharing through a peer-to-peer protocol which they didn’t specify, but that appears to be BitTorrent. 5 million works: the 95% least popular works get only 24% of access. (Envisional 2011) recently studied sharing for all media on the PublicBT BitTorrent tracker. This study raises some methodological questions: for instance, they studied one single day of sharing. 4% of all access. 04. 5 plots the cumulated distribution of access for this data.
This contribution must come with cleared stated rights, and each contributor must have effective powers to choose how this contribution will be used. 2. The first aim of this contribution is to reward creators and other contributors7 to works. In practice, it will more than compensate for any possible impact that the recognition of a right to share may have on their other sources of income, but the primary motivation of this contribution is not compensatory: it is based on newly formulated social rights of all participants to the cultural commons.
After close to 15 years of this “war on sharing”, the large media companies now know that it is here to stay. But they still hope that they can keep it clandestine, polluted, and stigmatized. They may be playing for time, trying to install some control over new channels before they have to live with sharing. In particular, it makes sense for them to try to push users back into a passive consumption mode. But although this passivity might be desirable for the cultural industries that flourished in the pre-digital era, it is not in the public’s best interest, and policymakers should not necessarily embrace it.