Global Media Cities
Abstract:
Analyze the implications of transcultural media production (Hepp, 2015) for the work of media professionals. Explain the development of global media cities as dominant hubs of media production (Hepp, 2015, pp. 113-123), how they function as worldwide ‘trend machines’ (Krätke, 2018), and whether or not they, in fact, foster ‘good work’ (Hesmondhalgh & Baker, 2011).
Introduction:
The culture industry today is characterized by the globalization of or large media groups in its economic organization. The global players in the media production and culture industry are often interacting and networking with the local players and particular producers in the urban centres and usually end up forming regional offices and subsidiary branches. This organization ensures that the media centres and the urban centres of cultural production are linked together across the globe. There is a close interaction between cultural production and media production in society (Krätke, 2018). The increased level of technology has led to media houses and huge media groups to advance globally into different regions. Globalization has made this possible since the media groups have been in the position of creating regional offices across the globe to offer advanced services. The media houses are operating in different regions and counter different cultures in those areas, especially the urban lifestyles since most of the media groups are focusing on the urban centres of this international market (McQuire, 2008).
The operations in different regions have led to seamless interaction between media business and culture since most of the cultural productions are intertwined within the media production. This global media production dictated by the customs of different urban centers has led to the development of global media Cities-(GMC) (Krätke, & Taylor, 2004). The major cities that are interconnected include London, New York City, and LA- Los Angeles. The media groups operate globally to suit all the people across different cultures; the groups are forced to tailor-make their programs following the regional requirement. This local requirement is dictated by the various cultures and ways of life in those different regions since they are closely interlinked. This article seeks to look into the implications of transcultural media production and, at the same time, analyses the development of global media cities and the dominant media production.
Implications of transcultural media production for the work of media professionals.
The present-day streams of social and cultural globalization arise fundamentally from the more developed nations of the West. The business-oriented culture and their media practices and business, in which the US culture industry has a noticeable situation as a nation that exports products and pictures emanate from the major media houses (Krätke, 2003). The configurations and substance of cultural creations in Western countries are majorly found among European nations and between the US and Europe. They are likewise accessible to anyplace on the planet. According to Stevenson (2003), all the governments that do not have their cultural practices and production, as well as media from their media mainstreams, usually rely on borrowing artistic output from the nation in the West, ending up flooding their local markets. However, this is the first move in which cultural practices are homogenized globally. The global assuming one culture and the dominant culture that is always borrowed is the culture from the West. This pattern may be considered when it comes to the general consumption of media productions as well as cultural productions globally, especially when the content comes from the most developed countries in the West. Furthermore, when the most significant consumers are youths, the assumption will apply as most of the children would like to borrow Western culture. It will be a good point to explain the homogenization of global cultural activities (Goldsmith & O’Regan, 2003).
Besides, even the worldwide firms in media and social businesses are obliged to assess specific tastes and cultural inclinations in different nations and locales. The market strategist and producers utilized by global cultural enterprises are very much aware of the specific differentiation of cultural practices and separation of their worldwide audiences, clients, and customers. Since then, they have been providing regional tentacles for their products to make them successful in the global market (Mennel, 2019). Chiba (2017) appoints that they have adjusted their programs and products to specific regional and specific state preferences as well as cultural demands at the end of the day. A MTV, which does not just repeat its programs that are aired in the US for utilization in the various locales of the world, yet has set up a progression of regional MTV which create and broadcast programs that are suitable regionally and that is in line with the cultural preferences (Crane, Kawashima, & Kawasaki, 2016).
This pattern towards differentiation of cultural markets is the same time main thrust for the global network production in media and culture industries with local focusing in various areas and country states, which is all around represented in Europe and the US, where there is an impressive diversity in cultural practices. The present social and cultural economy is portrayed not just by a developing focus on global standards and the topographical fixation and arrangement of groups in a progression of regional and worldwide urban areas yet also by a stamped pattern towards the globalization of corporate association (Ashworth, & Kavaratzis, 2016).
The developing centralization of capital joined with mergers and acquisitions is prompting the arrangement of universal media conglomerates, which not just involve a noticeable situation in the cultural and social economies of specific nations, but on the other hand, are making an undeniably comprehensive system of branch workplaces and auxiliaries. This comprehensive system of firms connected under the top of a media bunch has it is nearby securing focuses in those focuses of the overall urban framework that work as cultural metropolis’, for example, as focuses of social creation (Andersson, & Webb, 2016). These urban areas are not generally communities for the suppliers of worldwide corporate administrations, as has been built up in an investigation into the current arrangement of world urban communities. One of the major players contributing to the globalization of the media centres is the cultural economies that exist in the different global metropolitan areas. Therefore globalization is as a rule effectively ‘created’ in exact spots, specifically in the urban focuses of the worldwide media industry (Coate, Verhoeven, & Davidson, 2017).
Development of global media cities.
Media city is a term that is used in this generation to refer to media and cultural centres that operate in different geographical regions around the globe. They comprise of the small local clusters in the urban areas that t is in the media industry to the regional and global cultural metropolis. Media cities simply constitute a complex regional phenomenon that is majorly focused on traditional urban culture. Urban culture is simply the interaction of diverse cultures from rural set up by individuals who have moved to the urban areas and are adopting that new way of life. It also compromises adding modern urban amenities and centres of entertainment. There is excellent interaction between the cities and different cultures in terms of media production and cultural goods (Ashworth, & Kavaratzis, 2016). Cultural products have been globalized as a result of the world is an interconnected city. Most things that people see from one place to the other shape the reporting and the way of life. The urban media centres have also gone global and interact with the world from different cultures. The number of things produced by the media and reported by the media is shaped majorly by the new emerging urban trends.
The global media forms have been in a position to work as a single unit since technology has allowed them to have offices across the globe interacting with different urban centres, which shape their form of production and what is sent for the people to consume. Within the extensive network that metropolitan cities have, the global cities are emerging due to the interlinkage of the different clusters of local media and cultures. Global media cities are, therefore, a result of the globalization of varying mass media practices and products as well as cultural productions (Birkinbine, Gómez, & Wasko, 2016). This is so since there is no seamless interaction between the cultural industry and the productions done in the media industry. This interaction between the two sectors overlaps by virtue that they are almost similar. Together the two have contributed to the modernizing of social communication, entertainment, and consumption. The media business goes about as a concentration for the financial rebuilding and commercialization of social creation. It is likewise to be found at the core of the making the economy me dependent on the culture of the people living in the nearest centre, and the achievement is established on the development of pictures and broad promoting exercises that are upheld by the media (Loos, & Weigel, 2018).
The globalization of media conglomerates uncovers a solid pattern towards advancement for the explanation that close relations in the main areas of social production allow the worldwide media centres to integrate. The most popular trend fashions in the social/cultural business as fast as conceivable through their combination into the individual regionals groups of the local economy and simultaneously to exploit the most recent innovative improvements in the media area (for example in computerized picture handling, enhancements, transmission advances, and Internet applications). By building up a comprehensive system of their branch workplaces and auxiliary firms, the global firms are associating the universally conveyed urban groups of media and social creation with each other. This empowers the large media groups to tap the comprehensively dispersed inventive capability of cultural production. This interaction does not go overboard beyond in trying to explain the role of multinationals organizations in the development of cities. It talks majorly about the authentic connections between numerous urban media groups and the artistic milieus of their particular areas (Casadei & Lee, 2019).
The worldwide players in the cultural industry and media business at the regional levels network with specialized service providers and producers. Networking helps in building a global system for their branch workplaces and auxiliary firms, which connects the globally pitched postmodern centres of cultural production with the local ones (Krätke, & Taylor, 2004). The foundation of a worldwide network of specialty units that are coordinated simultaneously into the regional categories of the cultural business empowers the enormous media conglomerates to tap the comprehensively appropriated creative potential that dwells in artistic creation. Chiba (2017), The global players in media production and culture industry, are interacting and networking with the local players and individual producers in the urban centres and usually forming regional offices and subsidiary branches. This organization ensures that the media centres and the urban centres of cultural production are all linked together across the globe; there is a close interaction between cultural production and media production in society. A combination of business units of this sort can incorporate television and film creation firms, film research centres, independent digital effects firms, film circulating organizations, TV slots and film chains, dissemination firms, and firms managing in film and TV licenses. It can likewise stretch out to different cultural economy divisions, for example, the music business, the print media, the promoting business, and, more as of late, Internet administrations. The integration prompts the rise of exceptionally expanded and advanced media centres and groups (Mennel, 2019).
Technological advancements in the field of communication and information have discovered their way into the centre point of the media business. They are promoting a shift of market shares of the overall industry for the purported new media on the web and mobile web communication. New superior network infrastructures are furnishing the media business with an extensive degree for advancements, for example, new media groups, new computerized creation innovation and new types of advertising, for example, online information administrations, web TV, smart satellite TV, and so forth (Ashworth, & Kavaratzis, 2016). The significant component of enormous diversified media conglomerates, be that as it may, is the ability to all the while disseminate and exploit the same content through various media, for example, the print media, TV programs, and services from the Internet.
Conclusion
The operations in different regions have led to seamless interaction between media business and culture since most of the cultural productions are seamlessly intertwined within the media production. This global media production dictated by the customs of different urban centres has led to the development of global media. This worldwide network of firms connected under media groups’ banner has its anchors on the overall urban system that works as ‘media cities. The globalization procedure sought after by worldwide media firms is equipped, specifically, to opening up business sectors and expanding pieces of the overall industry by methods for a nearness in the key universal places of the media business. Besides, it uncovers a direction towards ‘advancement potential’: a presence in cultural creation’s main places permits worldwide media firms to join the most up-to-date patterns of the cultural industry and exploit the most recent innovations in the media segment. At the regional level, the worldwide media firms’ foundations connect with the little particular makers and specialist co-ops of the media business. This is actually where the job of ‘imaginative’ urban milieus of media action becomes an integral factor. Regional and local media groups in healthy urban communities are portrayed by dangerous and adaptable types of networking firm systems administration (counting nearby subcontracting and undertaking focused types of systems administration). The elements of bunching include numerous little specific firms just as the foundations of enormous media gatherings, and it prompts ‘outer economies of scale’ and a quick spread of new thoughts or innovative driving forces between the media firms present in the particular territory.
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