Hegemony and Discourse : Negotiating Cultural Relationships Through Media Production

8970 WordsFeb 17, 201336 Pages
Journalism http://jou.sagepub.com/ Hegemony and discourse : Negotiating cultural relationships through media production Michael Robert Evans Journalism 2002 3: 309 DOI: 10.1177/146488490200300302 The online version of this article can be found at: http://jou.sagepub.com/content/3/3/309 Published by: http://www.sagepublications.com Additional services and information for Journalism can be found at: Email Alerts: http://jou.sagepub.com/cgi/alerts Subscriptions: http://jou.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://jou.sagepub.com/content/3/3/309.refs.html >> Version of Record - Dec 1, 2002 What is This?…show more content…
Turner, 1990a, 1990b, 1992a, 1992b; Michaels, 1986, 1994). James Weiner (1997: 197) has noted that indigenous peoples ‘have utilized visual self-representation as a mode of empowerment, political assertion, and cultural revival in the face of Western cultural and economic imperialism’.1 In describing these shifts in the availability of media technologies and the challenges and opportunities created by them, Faye Ginsburg (1993: 559) has embraced Arjun Appadurai’s ‘mediascape’ term. Appadurai coined the term in 1990: Mediascapes refer both to the distribution of the electronic capabilities to produce and disseminate information (newspapers, magazines, television stations and film production studios), which are now available to a growing number of private and public interests throughout the world, and to the images of the world created by these media. These images of the world involve many complicated inflections, depending on their mode (documentary or entertainment), their hardware (electronic or pre-electronic), their audiences (local, national or transnational) and the interests of those who own and control them. What is most important about these mediascapes is that they provide (especially in their television film and cassette forms) large and complex repertoires of images, narratives and ethnoscapes to viewers throughout the
Open Document