Globalised media, localised culture?

Swinburne Vietnam student Pham Hoang Uyen Thu explores the contemporary Vietnamese zeitgeist as a facet of a globalised media.

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The ongoing processes of globalisation have profoundly shaped the modern media landscape, facilitating the rapid and borderless circulation of information, ideas, and cultural artefacts. This heightened exposure to transnational media has significant implications for the ways in which cultural identity and representation are negotiated and contested (Ferrati, 2021). Examining the impact of globalisation and cultural representation on one's media consumption can provide valuable insights into the complex dynamics that define the contemporary cultural zeitgeist.  

Globalisation remains a complex and contested concept, involving the creation and multiplication of social networks and activities that increasingly foster the exchange of goods, services, knowledge, and perspectives, deepening the interconnectedness and interdependence across borders (Servaes & Lie, 2003; Steger, 2009). At its core, globalisation encompasses all aspects of human activity, with interconnected social-cultural, technical, political, and economic dimensions (Trabulsi, 2023).  

Representation plays a vital role in shaping Vietnamese' students understanding of their cultural realities. Photo: Wix.

On the other hand, representations play a vital role in shaping our cultural understanding and perceptions. Cultural representations, found across various media like film, TV, photography, and journalism, do not merely reflect reality but rather actively construct and normalise certain worldviews and ideologies (Fürsich, 2010). Cultural media researchers have distinguished four primary ways in which representations can adversely affect how cultures are portrayed: assimilation, stereotyping, exclusion, and othering (Ott & Mack, 2014). The ways in which cultures, identities, and experiences are portrayed can significantly influence how we make sense of the world around us, reinforcing or challenging dominant ideological frameworks (Fürsich, 2010).  

Having grown up watching movies, I have been exposed to a diverse array of films, TV shows, and documentaries from across the globe, from CDs and traditional television to modern streaming platforms like Netflix and Disney+. The globalised media landscape has significantly broadened my understanding and appreciation of diverse cultural values and narratives that differ from the predominantly Vietnamese media I grew up with. In response to globalisation, Hollywood studios have adjusted their content to connect with diverse global audiences, broadening both their production options and distribution channels (Yin, 2018). As a result, co-productions and distribution deals have made it possible for the slow, sequential international releases to shift to a more simultaneous global phenomenon (Lorenzen, 2007; Kim & Parc, 2020). I've discovered that a lot of my favourite television shows, like the American sitcom "The Big Bang Theory," frequently address universal issues like social justice, family, and identity—but from the perspective of particular cultures. The show's quirky cast of characters from different ethnic and national backgrounds adds depth and nuance to its exploration of these timeless themes (Weitekamp, 2015).  

Recently, the increasing prominence of content from Korea and Japan has helped to challenge Western-centric narratives and provide more nuanced depictions of non-Western societies (Chuang & Lee, 2013). As a long-time fan of K-dramas, I've witnessed the remarkable spread of Korean culture to Western countries in recent years. Titles such as "Squid Game," and "Parasite," have not only shattered viewership records but also sparked a global fascination with Korean narratives, characters, and production aesthetics, underscoring the immense potential and growing global influence of Asian culture (Huang, 2022).  

Asian cultural influence is on the rise across the globe. Photo: Wix.

The technological dimension of globalisation has fostered an interconnected and digitally-driven world, allowing users to engage with social media more than ever. Advancements in digital infrastructure, AI, 2algorithms, and user-friendly interfaces have empowered platforms like Instagram and TikTok to facilitate the seamless flow of information, connecting me with content creators from around the world (Saad et al., 2024). The proliferation of social media has also introduced users to the prominence of user-generated content (UGC) and influential "influencers" who possess the ability to shape cultural discourses and consumer behaviour across national borders (Olsen & Christensen, 2015; Romero-Rodriguez & Castillo-Abdul, 2023). I find myself consuming a wide range of material, from humorous memes originating in the U.S. to viral Vietnamese dance challenges to fashion and beauty trends that transcend geographical boundaries. Additionally, the emergence of short-form content such as Instagram Reels and TikTok has brought about a fundamental shift in the way users, including myself, interact and consume digital media, resulting in a culture of constant engagement and rapidly changing attention spans (Chen et al., 2022).  

The global nature of media consumption does not necessarily ensure balanced or accurate cultural representation. While increased media flows have diversified the types of contents, Eurocentric biases often privilege certain narratives and production values over others (Hall, 1997). Personalised social media algorithms can also reinforce "filter bubbles" that limit exposure to diverse perspectives (Erickson, 2024). Many Western media depictions of non-Western cultures that I have watched tend towards orientalist tropes and reductive representations, perpetuating “stereotyping” or "othering" of certain groups. For instance, Asian women are sometimes portrayed in movies and on social media as submissive, obedient, or hypersexualised- a harmful myth that perpetuates the fetishisation of Asian femininity (Wei, 2023). This raises concerns about the extent to which my media consumption accurately reflects the true diversity and complexity of the global community, prompting me to critically examine the negotiation and contestation of cultural identity and representation in the digital landscape.  

Reflecting on these observations, I realise that cultural representation and globalisation have had a profound impact on my media consumption and the way I perceive different cultures. While exposure to diverse global perspectives has broadened my cross-cultural knowledge, my media consumption is still heavily dominated by Western, particularly American. Therefore, I must also acknowledge the potential for the media to reinforce biases and misrepresentations, making certain narratives and values appear to be privileged over others. Moving forward, I aim to approach my media consumption with greater critical awareness, seeking out content that accurately and sensitively depicts the complexity and diversity of cultures, both within and beyond my own background. 

References  

Chen, Y., Li, M., Guo, F., & Wang, X. (2022). The effect of short-form video addiction on users’ attention. Behaviour & Information Technology, 42(16), 1–18. https://doi.org/10.1080/0144929x.2022.2151512   

Chuang, L. M., & Lee, H. E. (2013). Korean wave: Enjoyment factors of Korean dramas in the U.S. International Journal of Intercultural Relations, 37(5), 594–604. https://doi.org/10.1016/j.ijintrel.2013.07.003  

Erickson, J. (2024). Rethinking the filter bubble? Developing a research agenda for the protective filter bubble. Big Data & Society, 11(1). https://doi.org/10.1177/20539517241231276   

Ferrati, A. (2021). Global Media and Cultural Identity: Opportunities and challenges for Morocco in the Digital Era. International Journal of Language and Literary Studies, 2(3), 109–120. https://doi.org/10.36892/ijlls.v2i3.673  

Fürsich, E. (2010). Media and the representation of Others. International Social Science Journal, 61(199), 113–130. https://doi.org/10.1111/j.1468-2451.2010.01751.x  

Hall, S. (1997). Representation: Cultural Representation and Signifying Practices. Sage, in association with The Open University.  

Huang, Y. (2022, May 14). Analysis on South Korean Soft Power— Taking BTS, Parasite and Squid Game as Examples. Www.atlantis-Press.com; Atlantis Press. https://doi.org/10.2991/assehr.k.220502.018  

Kim, S. D., & Parc, J. (2020). Inbound and Outbound Globalizations in the International Film Industry. Global Policy, 11(S2), 7–13. https://doi.org/10.1111/1758-5899.12807  

Lorenzen, M. (2007). Internationalization vs. Globalization of the Film Industry. Industry & Innovation, 14(4), 349–357. https://doi.org/10.1080/13662710701543650  

Olsen, N. V., & Christensen, K. (2015). Social media, new digital technologies and their potential application in sensory and consumer research. Current Opinion in Food Science, 3, 23–26. https://doi.org/10.1016/j.cofs.2014.11.006  

Ott, B. L., & Mack, R. L. (2014). Critical media studies : an introduction. John Wiley & Sons, Inc. https://ebookcentral.proquest.com/lib/swin/detail.action?docID=1557284.  

Romero-Rodriguez, L. M., & Castillo-Abdul, B. (2023). Toward state-of-the-art on social marketing research in user-generated content (UGC) and influencers. Journal of Management Development, 42(6). https://doi.org/10.1108/jmd-11-2022-0285  

Saad, A., Murtada Elbashir Osman, & Badur Algasim Mohamed. (2024). The Impact of Artificial Intelligence on Social Media Content. Journal of Social Sciences, 20(1), 12–16. https://doi.org/10.3844/jssp.2024.12.16  

Servaes, J., & Lie, R. (2003). Media, globalisation and culture: issues and trends. Communication, 29(1-2), 7–23. https://doi.org/10.1080/02500160308538018  

Steger, M. B. (2009). Globalisation : A Very Short Introduction. Oxford University Press. https://ebookcentral.proquest.com/lib/swin/detail.action?docID=472386.  

Trabulsi, E. (2023). A Global version of Locals (a case study on globalization, media & the socio-cultural trends in Türkiye). SN Social Sciences, 3(3).  https://doi.org/10.1007/s43545-023-00635-5 

Wei, Y. (2023). A cultural studies analysis of the over-sexualization of Asian women in Hollywood. SHS Web of Conferences, 180, 03003.  https://doi.org/10.1051/shsconf/202318003003  

Weitekamp, M. A. (2015). “We’re physicists”: Gender, genre and the image of scientists in The Big Bang Theory. The Journal of Popular Television, 3(1), 75–92. https://doi.org/10.1386/jptv.3.1.75_1 

Yin, W. (2018). A New Model for Globalization in the Film Industry: Lessons from Sino-US Film Co-productions. Kritika Kultura, 0(32), 117–140. https://doi.org/10.13185/KK2019.03207