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| 1 |
ID:
084860
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| 2 |
ID:
113860
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| Publication |
2012.
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| Summary/Abstract |
This article examines significant evidence of recent Bollywood influence on the Western movie industry, particularly Hollywood, and explores the implications of such developments in the context of globalisation. Within the ongoing globalisation of entertainment, a process that does not automatically lead to cultural Westernisation and uniformisation, Bollywood has by now become both a symbol of Indian cinema's circulation all over the world and the embodiment of non-monolithic globalisation. Bollywood is evidently not a homogenising influence that forces non-Indian cultures to embrace its cinematographic or musical norms and practices. Rather, it creates new hybrids. The article offers a framework for explaining the growing cultural and economic changes and movements of such non-hegemonic spreading of popular culture and identifies future agenda for research.
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| 3 |
ID:
119164
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| 4 |
ID:
131902
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| Publication |
2014.
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| Summary/Abstract |
Avatar
Film Star
Political Surplus
Truth
Entertainment
News
Crime
Cultural Economy
Moral Authority
Political Authority
Aamir Khan
Narrative Ingenuity
Politics
Social Changes
Trope
Social System
Social Reforms
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| 5 |
ID:
183996
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| Summary/Abstract |
The growing power of the media to define social values and perceptions is a conspicuous feature of contemporary life. Radio is one such shaper of social reality perceptions. While much of the media research focuses on secular organisations operating in a Western, liberal context, not much attention has been paid to this tension between religion and modernity within media outlets. This article examines representations of Israel’s Jewish ultra-orthodox minority in Israel’s daily radio satire shows, a popular and intuitive medium. It shows that content is usually based on the broadcasters’ spontaneous feelings contrary to other media. The findings in the article depict an isolated community out of touch with public consensus and mainstream society.
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| 6 |
ID:
171354
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| Summary/Abstract |
While the rise of celebrities-turned-politicians has been well documented and theorized, how their bids for office are treated by the establishment press has been less closely examined. Research on celebrity politics on the one hand, and on journalism standards on the other, have rarely been brought into conversation with one another. Here, we draw from both literatures to explore how the press covered Donald Trump’s 2016 presidential campaign. Prior research on political journalism would likely have predicted that Trump, with his lack of conventional political experience and a career in reality TV, would have been treated to derisive, dismissive press coverage, which we refer to as “clown” coverage. But Trump’s fame and wealth, and the high entertainment value of his campaign, would also lead the media to cover him heavily. We argue that the collision of entertainment-infused politics with traditional journalism practices created a profound dilemma for the press’s ability to cover the campaign coherently, and that the press responded to this dilemma by giving Trump as much clown-like coverage as serious coverage, throughout not just the primary but also the general election. We support our argument through qualitative evidence from interviews with journalists and other political insiders, and quantitative evidence from a content analysis of New York Times and Washington Post coverage of Trump at key points throughout the campaign.
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