Emerging Media Capitals

“Media capitals… are sites of mediation, locations where complex forces and flows interact. They are neither bounded not self-contained entities… Media capitals are places where things come together and, consequently, where the generation and circulation of new mass culture forms become possible.” (Curtin, 2003)

For a large majority of us, our favourite television shows and films are made in the United States. Western countries tend to source all their entertainment needs from the United States for many reasons. Some of these reasons include the themes being portrayed throughout plot lines and the self identification in characters. We necessarily tend to avoid series and films about issues we aren’t 100% sure and educated about. Through the development of globalisation, more and more media capitals are becoming apparent to us. Hong Kong and India are a few examples of countries that are being recognised for the content they have been creating.

Hong Kong has emerged as a new media capital with its development being heavily influenced upon that of the migrations of cultural institutions and creative talent. Hong Kong had a mass amount of immigrants from overseas Chinese communities, and they utilised the large number of creative talent that came with that. While these Chinese refugees settled into their new home of Hong Kong, the film industry was enhanced by the creative resources provided to them. Around the 1960’s, audiences become less and less interested in Chinese cinema and the film makers noticed that. They started created stories with more of a focus on contemporary and relevant topics.

With the impact of globalisation, it is no surprise that America is no longer the only recognised media capital. Although America will continue to play a big part in the production of films and television series, the newer, more overlooked capitals will provide influence and change will be noticeable.

  • Curtin, M 2003, ‘Media Capital: Towards the Study of Spatial Flows’, International Journal of Cultural Studies, vol.6, no.2, pp202-228
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