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| 1 |
ID:
137009
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| Summary/Abstract |
This paper analyzes the experience of Bharti-Wal-Mart, a joint venture between Wal-Mart and Bharti Enterprises (an Indian telecommunications company), based on the principles of glocalization theory. By and large, glocalization refers to the adaptation of multinational corporations (MNCs) to local cultures. MNCs achieve this by immersing themselves into local cultures and by adopting unconventional marketing techniques. A major finding of this analysis is that globalization is not monolithic. It is not a homogenizing factor that forces local cultures to follow the norms, practices, and values of a big corporation. In fact, Wal-Mart executives quickly learned that imposing the Bentonville blueprint on local Indian populations would be doomed to failure from the beginning. An important focus of this analysis is to establish a framework for greater understanding of the strategies adopted by Wal-Mart in India.
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| 2 |
ID:
104305
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| Publication |
2011.
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| Summary/Abstract |
This analysis compares Indian and US perceptions of Bollywood. It is the first to provide such a comparison. Overall, the authors found that both Indian and US perceptions of Bollywood are positive and negative. On some dimensions, Indian and US perceptions differ sharply from each other; on other dimensions, a few similarities become apparent. Overall, Indian perceptions of Bollywood are both negative and positive. While their concept of Bollywood is perceived as demeaning, stereotyping of the Muslim culture, and alienating economically and culturally marginalised audiences, it is also recognised as treasuring India's national identity, portrayal of women in some circles (e.g., alcoholics attempting to become accepted into the chic and alluring society), Hindi traditional lifestyles, and lighthearted humor. While the Bollywood phenomenon has permeated many cultures worldwide, these cultures still differ in the way they perceive this rising Indian movie industry. Not only does this analysis serve to demonstrate many lessons in cross-cultural understanding; it also corroborates the fact that Bollywood embodies an emerging socio-economic current of globalisation. It is one of the largest movie industries in the world, producing about 1,000 movies a year, and it has heavily influenced Hollywood and other Western movie markets.
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| 3 |
ID:
192937
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This cross-sectional study examines the acceptance of Indian cinema among Chinese cinephiles to determine how the audience perceives and is influenced after watching Indian films. Researchers surveyed the local Chinese audience and collected 2,129 valid self-structured e-questionnaires. Respondents belonged to Mainland China. Results showed significant characteristics that make Indian movies attractive to about 50% of the Chinese population. Findings also indicate that Chinese people still welcome good stories from India in blockbuster Bollywood films, despite tense Sino-Indian relations. Indian cinema plays a significant role as a soft power bridging both nations. The Indian film industry will continue to evolve to satisfy the audience’s needs in the future.
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| 4 |
ID:
092407
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2009.
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| Summary/Abstract |
This paper provides a detailed semiotic analysis of Chinese rock and pop music in the past 30 years. To support this analysis, an historical account of Chinese music from the third millennium B.C. to the Mao period is offered to explain how semiotics and music in China have been highly interrelated and how rebellious rock and pop was born in China. Chinese rock and pop was shaped by historical events. This paper does not only focus on popular music and its symbols, but also on the tools for the application of semiotic concepts in rock and pop music analysis and on the need for understanding and differentiating areas and relevant points of view.
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| 5 |
ID:
113860
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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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| 6 |
ID:
153646
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| Summary/Abstract |
This paper examines how Subway, the US fast food restaurant franchise, has adapted to Indian culture. Glocalization theory will be the guiding framework used in this analysis. Glocalization rests on the premise that a universal concept must change to fit and function in a local culture. Blending the local and the global, it provides a passage to empowerment where modifications to a particular commodity can make it prosper in various traditions. Four important themes of glocalization emerged from this analysis: (1) adjustment of restaurant ambience; (2) adoption of Jain values; (3) adjustment of advertising practices; and (4) adjustment of the use of social media. An important conclusion is that, although India is embracing modernity, Subway has honoured many religious and cultural views in that nation.
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