Cultura Mainstream: Cómo nacen los fenómenos de masas by Frederic Martel

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.

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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.

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