My media consumption and globalisation

Swinburne Vietnam student Nguyen Le Quynh Nhu explores the ways in which a globalised media industry erases geographic and cultural boundaries.

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The advent of globalisation has fundamentally reshaped how individuals interact with media by erasing geographical boundaries and fostering cultural exchange. Appadurai (2001) highlights how globalisation enables the fluid movement of ideas across borders. While this global flow of media appears beneficial, Robertson and Lash (1995) concept of 'globalisation' raises concerns about cultural imperialism, as dominant cultures can overshadow local media. Expanding on these dynamics, Steger (2003) noted that globalisation represents more than cultural shifts – it encompasses technological and economic changes that deepen global interdependence. Synthesising these perspectives, Trabulsi (2023) argues that globalisation encompasses all aspects of human activity, with interconnected social-cultural, technical, political, and economic dimensions. Within this context, this reflection examines how globalisation has transformed my media habits through two key dimensions: the globalisation of film consumption via digital streaming platforms and news engagement through social media.  

The author's news consumption has been transformed by social media. Photo: Wix.

Globalisation has fundamentally transformed my film consumption through digital streaming platforms, overcoming the inherent limitations of local Vietnamese theatres and television networks. However, today, platforms like Netflix have become gateways to a world of cinema (Wang & Weng, 2022). Lobato (2019) describes how technological integration has fostered a truly cross-border entertainment ecosystem that transcends traditional geographical constraints. This transformation is further supported by advancements in adaptive streaming technologies, which optimise content delivery across varying internet infrastructure environments (Arvidsson et al., 2021).  

Perhaps most significantly, investments in automated translation and multilingual subtitling have effectively dismantled language barriers, fostering unprecedented cultural exchange in cinematic history (Perez-Gonzalez, 2014). This aligns with McLuhan (2013) 'global village' theory, which suggests that technological advancements create a deeply interconnected media landscape. As a result, I can now effortlessly watch independent South Korean films that would never have reached local theatres or enjoy French cinema without requiring proficiency in the language. The availability of diverse film narratives has expanded my cultural awareness, reinforcing the notion that globalisation does not merely facilitate access but actively reshapes how audiences engage with media.  

The expansion of global media access significantly influences how cultures are represented and perceived. While globalisation fosters cross-cultural appreciation by exposing audiences to diverse narratives, it also risks reinforcing cultural stereotypes (Kim & Parc, 2020). As Fürsich (2010) explains, globalisation actively reconstructs cultural perceptions, challenging stereotypes and promoting nuanced understanding of various communities. Cultural media researchers identify four key ways representations can distort cultural portrayals: assimilation, stereotyping, exclusion, and othering (Ott & Mack, 2014). My prior understanding of North Korean society was shaped by stereotyping, viewing it as monolithic, isolated, and devoid of cultural diversity. However, watching Crash Landing on You, a South Korean drama, reshaped my perspective. The series illustrates cultural assimilation, depicting young North Korean soldiers secretly watching smuggled K-dramas and civilians adopting South Korean slang despite strict state censorship. Epstein & Green (2020) argue that such representations challenge the rigid ideological binaries often associated with North Korea, illustrating how cultural curiosity persists despite political barriers. This experience not only altered my perception of North Korea but also heightened my awareness of how globalised media constructs, reinforces, or disrupts cultural narratives.  

Exposure to smuggled South Korean media has seen slang from the South appearing on the North side of the border. Photo: Wix.

Beyond cultural and technological changes, globalisation has fundamentally shaped media production economics, influencing the films I watch. International co-productions and government incentives have enabled filmmakers to access broader markets while reducing costs (Goldsmith & O'Regan, 2005). This economic globalisation fosters higher production values, allowing films to balance artistic ambition with commercial viability (King, 2019). An example exemplifies this phenomenon is Avatar (2009), directed by James Cameron. The production utilised New Zealand's Large Budget Screen Production Grant, which offered a 15% rebate on qualifying expenditures, securing approximately $44.7 million NZD in support (Brownlee, 2010). The film also benefited from global collaboration with Weta Digital, a New Zealand-based visual effects studio known for pioneering motion capture and 3D rendering techniques (WetaFX, 2016). This demonstrates how globalisation enables transnational partnerships that enhance production quality, enriching audience experiences with more visually sophisticated films.  

Beyond altering my film consumption, social media has transformed global news consumption, breaking traditional media barriers and enabling real-time information exchange (Verma et al., 2024). Unlike conventional outlets reliant on editorial processes, platforms like Instagram and Twitter let users bypass gatekeepers and access firsthand accounts of global events (Nielsen & Fletcher, 2020). For example, during the California wildfires, I followed #LAstrong on Instagram, where users shared firsthand footage, evacuation alerts, and personal testimonies. This citizen journalism provided immediate, unfiltered insights that mainstream media, constrained by verification, often lagged behind in reporting.  

References:

Epstein, S., & Green, C. K. (2020). Crash Landing on You and North Korea: Representation and Reception in the Age of K-Drama - The Asia-Pacific Journal: Japan Focus. The Asia-Pacific Journal: Japan Focus, 18(12). https://apjjf.org/2020/12/epsteingreen

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

Goldsmith, B., & O’Regan, T. (2005). The film studio : Film Production in the Global Economy. Rowman & Littlefield.

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

King, G. (2019). Positioning Art Cinema: Film & Cultural value. I.B. Tauris & Co. Ltd. Lobato, R. (2019). Netflix Nations: the Geography of Digital Distribution (Vol. 28, pp. 73–105). New York University Press. https://doi.org/10.18574/nyu/9781479882281.001.0001

McLuhan, M. (2013). Understanding Media: The Extensions of Man. Gingko Press. https://ebookcentral.proquest.com/lib/swin/detail.action?docID=1222206

Nielsen, R. K., & Fletcher, R. (2020). Reuters Institute Digital News Report 2020. Reuters Institute for the Study of Journalism. https://reutersinstitute.politics.ox.ac.uk/sites/default/files/2020-06/DNR_2020_FINAL.pdf

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.

Pariser, E. (2011). The filter bubble : what the Internet is hiding from you. In Internet Archive. New York : Penguin Press. https://archive.org/details/filterbubblewhat0000pari

Perez-Gonzalez, L. (2014). Audiovisual Translation: Theories, Methods and Issues (1st ed.). Routledge. https://doi.org/10.4324/9781315762975

Poell, T., & van Dijck, J. (2015). Social Media and Activist Communication. In In The Routledge Companion to Alternative and Community Media (pp. 527–537). London: Routledge. https://papers.ssrn.com/sol3/papers.cfm?abstract_id=2624911

Robertson, R., & Lash, S. (1995). Global modernities (pp. 25–44). Sage Publications. Steger, M. B. (2003). Globalisation : A Very Short Introduction. Oxford University Press.

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

Verma, R., Ajay, & Chaudhary, S. (2024). Social Media’s Role in Shaping News Consumption Patterns. Social Media’s Role in Shaping News Consumption Patterns, 9(1). https://doi.org/10.25215/2455/0901022

Wang, Y., & Weng, X. (2022). Analysis on How “Globalisation” Affects Netflix to Cultural Diffusion. Advances in Social Science, Education and Humanities Research, 664. https://doi.org/10.2991/assehr.k.220504.376

WetaFX. (2016, March 21). Avatar (2009) filmography. Wetafx.co.nz; Weta Digital. https://www.wetafx.co.nz/films/filmography/avatar?utm