Becoming a Global Audience by Juluri Vamsee

By Juluri Vamsee

What does globalization suggest for the tv viewers? Becoming an international Audience examines matters of cultural imperialism when it comes to the particular event of tv reception in a postcolonial context. the increase of satellite tv for pc tv in India within the context of monetary liberalization in 1991 has been marked by way of the localization of world tune tv networks like MTV and Channel V. This ebook argues, notwithstanding, that this ''Indianization'' isn't any reason for party. utilizing in-depth interviews with Indian track tv audience and theoretical methods drawn from political-economic, cultural, and postcolonial experiences, it argues as a substitute that the reception of ''Top Ten'' indicates and nationalistic tune movies is a part of a profound reordering and appropriation of good judgment lower than the altering social kinfolk of globalization.

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Alarmed by the growing popularity of Zee, and the impending loss of advertising revenues, Doordarshan launched its own counteroffensive, with successful and, on occasion, ludicrous effects. Even as proposed programming guidelines for Doordarshan’s new channels were being debated, it went ahead and launched the Metro Channel, relying largely on Indian film-based programming. With the success of the Metro Channel, and the launch of numerous satellite channels featuring regional language programming, Doordarshan increased its presence, but continued to face the problem of finding programming.

If the Doordarshan audience was imagined as consisting of citizen viewers (in need of modernization and some firm instruction on the merits of the ruling party), the post-liberalization television audience is being imagined as consisting of five paise1 consumers. Although I would not ascribe all that I examine in this book to the generative powers of the five-paise coin, its evocative significance in the “first instance” (Hall, 1986) must be noted, particularly in the context of the political economy and cultural studies debates.

Participants were recruited with the following criteria: they had to be familiar with music programs on television and willing to talk about them. One problem with access was that a number of people who declined to participate clearly watched many of these programs, but felt they did not “know enough” to participate. This tendency appeared in the early stages of some of the interviews as well, where some participants seemed hesitant, as if looking for the “correct” answer. On the whole, however, participants seemed comfortable and willing to talk, and their having been invited by key informants in familiar peer groups also contributed to the positive environment.

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