In the globalization era, people all over the world have the ability to constitute the images of other countries although they have never physically been to those places. Appadurai (1990, p.296) has extended Benedict Anderson’s concept of imagined community, suggesting the notion of ‘imagined worlds’ that are established by the intersecting five aspects of global cultural flows: ethnoscapes, technoscapes, finanscapes, mediascapes, and ideoscapes. That is to say, the dynamic transnational movements of people, technology, capital, images, and ideas have been creating and shaping imaginary illustrations of the world in each individual’s mind. Additionally, because of the rapid development of information technology, the information is …show more content…
The film is directed by American director Sofia Coppola, produced by American production company Focus Features in associate with Japanese production company Tohokushinsha Film, and distributed worldwide by Focus Features (US), Pathé (France), Momentum Pictures (UK) and Constantin Film (Germany) (IMDb, 2017). In addition, the film is currently available to be consumed and watched through various forms of digital media such as DVD, iTunes, and on-demand videos online (Focus Features, 2017). Lost in Translation can thus be viewed as a mediascape that has the power to reach audiences throughout the world. Furthermore, the model of mediascape not only refers to the media created and communicated across borders but also deals with ‘the images of the world created by these media’ that subtly blur the distinction between reality and fiction (Appadurai, 1990, p.299). In other words, mediascapes can be viewed as media texts and images that have the ability to depict and construct the world to transnational audiences in particular ways from specific perspectives of certain media producers. Therefore, in addition to its transnational industrial background, Lost in Translation (2003) can be considered as a mediascape that applies its scenes, characters and plots to create an imagined Japan through the American gaze. That is to say, the film invites audiences to view Japan from an American
The 1987 film documentary Ethnic Notions directed by Marlon Riggs, identifies the evolution of African American cultural depictions through ethnic stereotypes and caricatures in American culture. I feel Ethnic Notions exposes the roots of false generalization from the beginning and presents a series of classifications for racial depictions that still are noticeable in today's society. These racial depictions identified with in this film begin in the mid 1800's and continue thought to the 1960's. I now after viewing Ethnic notions agree that there are generalizations and depictions that are exaggerated in American popular culture and entertainment.
Imagined community is referred to the idea that a nations language, race and religion have been imaged by people who perceive themselves part of a specific nation. It is the idea that we ourselves create. In the text Whose Imagined community? By Partha Chatterjee, she explains how we have shaped this idea of imagined community and how it has been influenced by nationalism. The roots of nationalism has often been associated with a country who has political power.
With easily accessible hi-speed internet connections that grant communication between people thousands of miles away in milliseconds, it is hard to imagine that this essential commodity, the net, is a recently developed technology – that not too long ago, people were not able to easily communicate with loved ones across the globe. As a result, the internet is often credited as the spark that ignites the beginnings of globalization – a modern phenomenon arising from the integration of multiple cultures. However, in Vermeer’s Hat, published in 2007 and written by Timothy Brook, Brook offers a different opinion. He believes the rise of globalization began from an era, centuries before the online web and argues that the roots of humanity’s
The role of globalization has had a major influence on society and the world, and this essay will argue it has resulted in cultural homogenization. This can be illustrated through an introduction to globalization, the consolidation of media, ownership and vested interests, world standardization and neoliberalism, politics and the media and public service media. Examining the different views of globalization, including Appadurai and McChesney as well as other sources it can be clearly understood the negatives arising due to
In his book, Citizens and Nation, Gerald Friesen first mentions the concept of “imagined communities” as he states, “Space had been restructured because the communication media had eliminated so many of the inherited constraints of physical existence” (Friesen 177). Thus, for Friesen, an imagined community is constructed as communication technologies connect individuals across geographical boundaries, therefore releasing the limitations of space. While Friesen’s definition implies that a technological intermediary is needed for the formation of imagined relations, his work, Citizens and Nation works to prove that communities that are based on something other than face-to-face communication, can, without technology, also be considered imagined”. Moreover, using, Oral-Traditional and Screen-Capitalist societies, two distinct time space-configurations, this essay will demonstrate how throughout history, the concept of “Imagined Communities” differed in its effect and prevalence in Canadian life.
Pankaj Ghemawant- A notable author of the book “World 3.0”, has done a significant research to understand how globalised we are. According to his research-
Film As A Cultural Artifact The cultural significance of films is something that I feel is frequently overlooked and unrealized. Most are unaware just how much various media tools play a significant role in our everyday lives. In the following paragraphs I will be taking an in depth look at the film Pans Labyrinth, and talking to the cultural significance of it and how this should be important to us now.
For decades, Japan has been a breeding ground for some of the most unique and innovative filmmaking in the history of the industry. Directors like Akira Kurosawa, Hayao Miyazaki, and Yasujirō Ozu are considered visionaries, and filmmakers today use their work as inspiration for their own. Even today, many Japanese movies manage to achieve high acclaim, even outside of its borders. The films of Takashi Miike, “Beat” Takeshi Kitano, and others like them have garnered cult followings with Western audiences. With this in mind, it is no surprise that Japanese short films can also do well stateside. One recent example is ‘And So We Put Goldfish in the Pool.’ (translated from the Japanese, ‘Sōshite watashitachi wa pūru ni kingyo o,’), a 2016 drama written and directed by Makoto Nagahisa. Running at just over twenty-eight minutes, this short film has been received tremendously well, winning the Short Film Grand Jury Prize at this year’s Sundance Film Festival. With its unique story structure and biting social commentary, ‘And So We Put Goldfish in the Pool.’ is a remarkable piece that exemplifies the power of Japanese filmmaking.
Moreover, if Los Angeles is the city that illustrates globalization, could it also be the place where we begin to imagine what comes afterward? As a matter of fact, the novel uses techniques that offer a complex, multi-layered map of “global cultures,” in Los Angeles that insist the visions of globalization is seen as “capitalism” (Yamashita 132). Furthermore, the imaginary lines in particular are challenged by the economic and national borders, which divides an otherwise “natural community” (119). On one hand, this allows free goods and capitalism, but on the other hand, it restricts the migration of people.
As Japanese economy soared, its media products such as manga, TV shows, movies and music spread out across Asia. Especially, the young people in Asia began to embrace Japanese culture rather than the culture from the most dominant culture exporter- the United State, and this phenomenon was analyzed by Koichi Iwabuchi in his Feel Asian Modernities. His account of this intra-regionalization in Asia is cultural proximity that Japanese culture shares intimate similarities with other Asian countries and appeal to the audience to perceive this cultural flow.[ Iwabuchi, K(2004), Introduction: Cultural globalization and Asian media connections. Feeling Asian Modernities, pp 12.] In this way, American
Coppola made headlines again in 2003 when she debuted Lost In Translation, a film she both wrote and directed. With actor Bill Murray as her muse, the film tells the story of two Americans strangers. In 2004, Coppola won an Academy Award for Best Original Screenplay for the film.
Transnational cinema is a developing concept. It changes alongside the film industry. The ever-increasing of Diasporas and ever-developing cultural identity help shape transnational cinema. Transnational cinema is an emergence of cultural phenomenon and it develops though time. The clip I created aims to
Lastly, religions play an important role too by gathering people scattered across the globe under an identical cosmology, thus creating imagined communities (Anderson, 1983). Globalization, by connecting people through the media, also creates such a community: inhabitants of the world share the idea of a global community and an international identity. This is why we could define globalization as the compression of time and space (Harvey, 1983). Communications as well as people can travel at an ever increasing speed, thereby giving the impression that every corner of the world is at hand. The main thesis about globalization argues that it leads to a phenomenon of homogenization. My hypothesis however is that some cultures are so different and so deeply rooted in their environment that they can't simply be erased. They will be modified, influenced but not standardized under one unique model. This will lead to hybrid products, thereby proving the hypothesis of glocalization, introduced by
In these cases, transplanetary connectivity is said to have arisen because of the way that people have mentally constructed the social world with symbols, language, interpretation, and so on. From ideational perspectives, globalization has resulted from particular forms and dynamics of consciousness. For methodological idealists, patterns of production and governance are second-order structures that derive from deeper cultural and socio-psychological forces. Such accounts of globalization have come especially from the fields of Anthropology, Humanities, Media Studies, and Sociology, although idealist arguments have also influenced some researchers in Geography, Politics and even Business Studies. One type of ideational explanation is constructivism, an approach that has been popular particularly since the 1990s among International Studies scholars in North America and Western Europe who wish to develop an alternative perspective to liberalism and political realism. As the theory’s name suggests, constructivism concentrates on the ways that social actors ‘construct’ their world: both within their own minds and through inter-subjective communication with others. Particularly, constructivists examine how inter-subjective communication generates common understandings of reality, shared norms for social behaviour, and notions of group identity and solidarity. Conversation and
It is said that technology is turning our world into a global village, and this is true to some extent but even now if we move from one city to another, one can feel the difference in language, culture, life style and many more.