Read an Excerpt

Engaging with Reality

Documentary & Globalization

Intellect Ltd

Globalization in a mediated world

Globalization is not just about economy and transnational corporations and organizations, although this dimension is of course very important. Globalization, to a large degree, also influences the media we watch, the culture we live in and our everyday life. In a more and more global world our national politics, finances and our environment are no longer just a matter for national decisions and debate. Whether we like it or not, we depend on the global contexts, and no matter how weak global institutions and networks may seem at times, they are very important. The global networks are both formal and informal networks, they can be democratic and public or just private. The period pre- and post-9/11 has seen a huge increase in terror networks, just as these terror networks have been met with counter-measures that some researchers and journalists have characterized as 'top secret institutions' beneath the surface and between intelligence agencies globally (Svendsen 2010 and Priest and Arkin 2011). Global threats and challenges tend to create counter-responses of an equally global nature, at least in some areas, and sometimes these responses can challenge our very notions of democracy, the independence of the media and basic human rights. But global networks are not related only to war and terror, and in the world after 2001 many other challenges on a global level have given already existing global institutions and networks new importance. At the same time the whole development of a global network society has reshaped the way we interact and communicate, and the relationship between old and new media.

The challenge of the global realities has also created a strong development of, and change in, the major theories on globalization in general, and within specific areas of globalization in particular. Globalization has, of course, in some form or other, always been part of both ancient and modern societies through trade, migration, war, conquest, travel, communication etc. But the rise of global communication technologies – first telegraph, cable, radio and later visual and digital communication, are important for the speed and intensity of globalization. The degree to which global processes of a global economy and global politics go hand in hand with global communication indicate the stages of modern globalization and the way we experience it. Just as the basic human rights of freedom of expression and access to information and communication have been central to the development of national democracies and national media cultures, they have also been a central dimension of the debate on global democracy and global governance. In the early stages of modernization and globalization, news and communication travelled slowly and mainly just between the financial and political elites in the highly developed countries. Today, history is broadcast almost instantly when it happens, and even in not so developed countries new mobile technologies can make a difference.

This discussion is connected to issues of global inequalities and the question of hegemony and diversity. The fall of communism in 1989 and the end of the Cold War created a new situation for the 'free flow of information' on a global level. The global reach of satellite television, and digital and mobile communication, further developed the technological infrastructure on a global scale. But technological infrastructures are of course still more developed in some parts of the world than others. On a more transnational political level these kinds of questions and problems have been dealt with in, for instance, the UN, UNESCO and the international commission for a New World Order (NWICO) since the 1970s (see Thussu 2006: 33f). The so-called MacBride Commission Report from 1980 reflected very critical positions to the present state of globalization and to the dominance of superpowers on a global level and in global communication. But although the global dominance of big companies and big communication corporations is an empirical fact, the conclusion that the world is dominated by a political, economic and cultural hegemony is also contested in modern globalization theory.

Critical theory and globalization

One of the strongest and most influential theories of globalization is the critical theory based on studies of the global economy and the global media systems. In many ways, this theory expands the theory of imperialism to modern societies and to the role of global media in a new cultural and communicative imperialism. Typical representatives of this theory are Edward S. Herman and Robert W. McChesney's The Global Media: The New Missionaries of Corporate Capitalism (1997), where they argue for a dramatic structural change in the global media culture since the 1980s, from a classical, nationally controlled and defined media system, to a global, commercial system dominated by a group of 30–50 big global corporations. What they argue is that this development undermines a democratic, public sphere, and national and global democracy and citizenship, and brings the media outside democratic and political control. Globalization thus means concentration, commercialization, unbalanced global competition and is seen as a serious threat to political and democratic standards and control. The US–UK case against Rupert Murdoch's News Corporation and the scandal around and closing down of News of the World in 2011 based on illegal phone tapping of politicians, celebrities and ordinary people, certainly represents a clear example of the relevance of the arguments put forward by Herman and McChesney. The argument put forward here could furthermore be expanded to the global financial sector as such, where global finance, despite global political initiatives such as the World Bank, The International Monetary Fund or the trade regulation organization GATT, in numerous cases has created instability. As we have seen in the worldwide financial crisis in 2010–2011 there is a huge fight going on between transnational political institutions and the global financial sector. Globalization is challenging our national frameworks, media and politics to a very large degree.

In critical theory the global media are American, and this global dominance is, of course, nowhere so symbolic as in the notion of 'Global Hollywood', which is actually the title of Toby Miller et al.'s book from 2005. Large, global companies have a strong base in the US, and the US has some of the leading software and content industries among the creative media industries (television, film, computer, smart phones etc.). But global companies are dominated by transnational company structures and ownerships and they integrate very different sectors. The strong growth of globalization in the media sector broadly speaking was also a result of the deregulation of this market in both the US and the EU. The European single market, the US Telecommunications Act in 1996 and the WTO Telecommunications Agreement in 1997 (see Herman and McChesney 1997: 110f) clearly paved the way for transnational media corporations and the merging of sectors. The fact that digital production and distribution around 2000 became 'the global communication highway' furthermore increased the merging of global players and sectors in different parts of the corporate media and communication system.

The focus on dominance of the US in the global media and communication sector in critical globalization theory is not just based on financial strength and quantitative dominance in many sectors. Herman and McChesney also talk about the dominance and export of the 'American model' (Herman and McChesney 1997: 137f), that is, the deregulated, market-oriented model. Toby Miller combines the statistics on the world dominance of Hollywood movies with a more qualitative, cultural argument: Hollywood has found a way to speak to the universal, cultural mind of the whole world, accepted by a world mass audience, although sometimes rejected by European intellectuals as a kind of 'colonization of our subconscious' (Miller 2005: 3f). As Miller points out in his book, Hollywood is not, in terms of production of films globally, the largest market. Both Europe and Asia produce more films, but nevertheless the average market share of Hollywood films in 2004 was around 70 per cent in most regions of the world, in some places a little less and in other places more (Miller 2005: 11ff).

The global cultural language of globalization is probably American, although Hollywood and the American creative industries in general today are heavily influenced by Japanese and Chinese money – a sign of changing patterns in the global finance system. But, if we look at the world's global media and communication companies they are not completely American, and they stretch across regions, continents and sectors. Changes occur all the time, but by 2005 the six largest companies were the US-based Time Warner, Disney and Viacom, the Japan-based Sony and the Europe-based Bertelsmann and News Corporation (Rupert Murdoch). Most of these companies own both TV industries and TV channels, radio, film, print media and internet software and also in some instances hardware (Thussu 2006: 98f). They are thus able, at least in principle, to control production and distribution of all types of media and media content in large parts of the world. But as many observers have pointed out (Thussu 2006, Katz and Liebes 1990, Tomlinson 1999 and Appadurai 1996), globalization is not just a one-way street: the global is used and interpreted in a local context. Furthermore, there is clear evidence that new patterns of consumption in the global media context may arise in the digital age where availability becomes more individualized and decentralized.

A cognitive, socio-cultural approach to globalization

In Held et al.'s book Global Transformations: Politics, Economics and Culture (1999) they define globalization as part of a continuum from local to global:

Globalization can be located on a continuum with the local, national and regional. At the one end of the continuum lie social and economic relations and networks which are organized on a local and/or national basis; at the other end lie social and economic relations and networks which crystallize on the wider scale of regional and global interactions. Globalization can be taken to refer to those spatio-temporal processes of change which underpin a transformation in the organization of human affairs by linking together and expanding human activity across regions and continents. Without expansive spatial connections, there can be no clear and coherent formulation of this term (Held et al. 1999: 15).

In this definition of globalization we stay clear of normative, critical-pessimistic or utopian optimistic notions of globalization (Tomlinson 1999: 71 ff). Globalization is a sociological phenomenon in the modern world, but it does not in one fell swoop take away the importance of local and national levels in which we all live at the same time, even though we also live in a more and more globalized world. What Held et al. are discussing and analyzing in their book are concrete, historical and sociological transformations and the intensity, extent and speed of these transformations in areas of national politics, trade, finances, migration patterns, culture and climate.

This sociology of globalization, which points to the fact that we all inhabit different 'life worlds' in any historical junction of modernization and globalization, connects well with the kind of cognitive sociology of the mind that the American sociologist Eviatar Zerubavel has formulated in Social Mindscapes: An Invitation to Cognitive Sociology (1997). In his book, he argues for a sociology of the mind that avoids both extreme subjectivism, in which we are all seen as very different in the way we think and live, and extreme universalism, in which we are all very much alike, because modern biology and cognitive neuroscience has found out how much genes and biology mean for us. When studying the mind and the way we live, act, think and communicate it is therefore important to think in a continuum of 'mindscapes' from the individual to the more universal, and to acknowledge the fact that people today live in a 'modern society characterized by its cognitive pluralism (...) that most people nowadays belong to multiple thought communities' (Zerubavel 1997: 17). The foundation of this cognitive, sociological concept of the mind is expressed in Table 1.

A cognitive, sociological theory like this clearly questions aspects of the critical theory on globalization and the underlying thesis of homogenization and cultural dominance. But at the same time it gives another explanation for the universal reach of many media products, because this kind of cognitive sociology underlines the fact that basically all human beings have the same kind of cognitive, emotional and experiental framework. The cognitive sociology points to social and cultural patterns as a kind of 'unity in diversity': there is both a cognitive universalism and a diversity created by individual and collective experiences and life stories. In recent cognitive film and media research this has been underlined by studies of how narrative structures and basic generic patterns cut across cultures (Grodal 1997, 2009; Anderson 1996; Anderson and Anderson 2005). This theory rejects primitive constructivist theories that have dominated parts of both humanities and social sciences and have been the basis of much critical theory. As Grodal has pointed out, this paradigm has a much too short historical sense of man, and it does not take the biological architecture into consideration: 'For extreme constructivists, minds have only a short history: the product of socialization from birth onward combined with recent cultural history, but not with the long foregoing history of evolution' (Grodal 2009: 3).

But when we look at modern, global societies it is important to remember that globalization is not developed and does not influence individuals and groups of people without entering into dialogue with universal human elements with a very long history, and social and cultural experiences with a much shorter history. It is not difficult to point to differences between a man born and brought up in a primitive rural society in Mali, a man from Berlin who has lived through the fall of the Wall and experienced both a totalitarian communist state and a modern European democracy, and a man from New York, Manhattan, living in Little Italy and with an Italian background. We are bound to find different 'mindscapes' here, but they also share very basic human elements, and they can all in some way understand and relate to a Disney movie or a documentary film on nature and climate. As Grodal points out, 'Within a given culture, many agents interact on the basis of capacities that are human universals, as well as culture-specific or agent-specific schemes, concepts and habitus' (Grodal 2009: 11).

As 'narratives of reality', documentary genres are particularly suited for creating emotional and cognitive connections between individual, group-based and more universal dimensions of reality. If we take the area of migration and multiculturalism in today's more global reality, many images of people with different ethnic, cultural and religious background are generated by the news. Many people may have little or no personal contact and knowledge of people from other ethnic groups or cultures, because our individual and group experience by nature must be limited to those we encounter in our everyday life. Some may live in mixed neighbourhoods, and certainly at work or other institutions an ethnic and cultural mix may exist. But documentaries dealing with this issue, for instance, the Danish My Denmark (see p. 199f), can show us the life of others in such a way that we become aware of how much 'strangers' are also 'like us' in many ways, how they have the same dreams, problems and concerns. The universal dimension of global diversity is an important part of a documentary narrative, a dimension where individual or group differences are not removed but put into perspective, and where information and knowledge link cognitive and emotional dimensions.

Complexities of global interactions and media experiences

Unlike the more structural and economy-based theories of globalization that take a more general, critical stance on globalization, theories dealing with media and audiences in a more qualitative perspective have focused on cultural exchange. In Katz and Liebes' book The Export of Meaning: Cross-cultural Readings of Dallas, a famous and comprehensive study of the American TV serial Dallas, the central argument is that a universal dimension in this serial meets with social and cultural-specific readings in different world audiences. Contrary to theories of homogenization and the 'Hollywoodization and Americanization' of the mind of global audiences, this study of several receiving communities of the serial stresses the negotiation between the local dimension and the global.

Katz and Liebes point to three different explanations for the tremendous global success of this serial:

(...) the universality, or primordality, of some of its themes and formulae, which makes programmes psychologically accessible; the polyvalent or open potential of many of the stories, and thus their value as projective mechanisms and as material for negotiation and play in the family of man; and the sheer vailability of American programmes in a marketplace where national producers – however zealous – cannot fill more than a fraction of the hours they feel they must provide' (Katz and Liebes 1990: 5, my italics).

---

Excerpted from Engaging with Reality by Ib Bondebjerg. Copyright © 2014 Intellect Ltd. Excerpted by permission of Intellect Ltd.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

---