False Balance and False Arguments

The amount of action done about climate change is founded on social and cultural attitudes which are moulded based on the information we gather from experts and knowledgeable people, though issues relating to ‘false balance’ in the media account for scepticism felt by members of the public. Referring to the ethical practices of journalists I will address problems relating to the reporting of climate change to the public and the role the media plays in doing this.

The 2006 film An Inconvenient Truth brought to public attention the issues of climate change in a mass commercial way that had not been done before, allowing people of all ages to understand the implications of the complex phenomenon. The film stirred debate in the public sphere, inspiring people to call for changes in governmental policies which would see a decrease in greenhouse gas emissions, though also bringing forth so called ‘experts’ to deny or play down the existence of climate change.

The media has played a crucial role in the spreading of climate change information though many examples of ethical tightrope walking have seen the unjust spreading of anti-climate change propaganda at the same rate as climate change scientists. Bud Ward refers to this practice as “false-balance” which he describes as “providing space disproportionate to its scientific credibility to perspectives running counter to what is now widely accepted as the ‘established’ scientific judgment” (Ward pg. 3). This practice in journalism has promoted the illogical idea of arguing fact with opinion, seen through the climate change debate as proven scientific fact is usually argued with the opinions of politicians, the majority of which are admittedly not climate scientists.

This unethical journalistic practice is arguably halting the progress of climate change and turning the wheel of debate on an issue that shouldn’t be debated. Furthermore like I’ve stated previously evidence shouldn’t be debated with opinion but should be challenged by other evidence, making the debate scientific rather than trivial.

With changes to media and journalist ethics we could all see serious action taken to combat climate change as the social and cultural attitudes towards the debate shift towards logical and reasonable thinking.

By Ethan Riddell

Reference list

• Ward, B. (2009). As I See It: Journalism ethics and climate change reporting in a period of intense media uncertainty. ETHICS IN SCIENCE AND ENVIRONMENTAL POLITICS, Vol. 9, pp.1-3.

Images

• http://www.victorialabalme.com/communication_and_presentation_skills/?p=190
• http://www.nytimes.com/2006/05/24/movies/24trut.html?_r=0
• http://articles.latimes.com/2012/aug/02/nation/la-na-tt-climate-change-skeptic-20120802

Drama in Translation

Drama unlike comedy has less of a cultural attachment, though is still moulded in the image of the country or culture it’s created in. Examples of this can be seen with English detective classics such as Sherlock Holmes compared with American detectives such as Dirty Harry or the cast from True Detectives which all have a sense of justice and fight for what is right though are still dictated by the culture or society they emanate from, changing the feel and motivations of the characters.

Several stereotypes are applied to the main force of justice in detective programs which set the bases of the characters and also hold cultural relevance to the place the detective comes from, examples of which can be seen in the Sherlock Holmes narratives and television shows. Sherlock Holmes, written by Arthur Conan Doyle represents what was mentioned in the lecture as the ‘Shakespearian or classic Englishmen’, meaning he’s sophisticated, logical and reasonable and usually solves crimes using intellect rather than force or brutality.

Alternatively American detectives usually form the opposite stereotype, resorting to actions that are violent to get results and usually working outside the designated justice system. Tendencies of being a ‘lone wolf’ or maverick goes along with the American ideal of a detective, seen through the Dirty Harry Films in which he works along. Further evidence can be seen of this behaviour in True detective (2014) in which the two protagonists who are partnering detectives investigating a murder case sincerely dislike each other to the point in which they don’t converse with each other on matters not relating to the criminal investigation.

While very different the characters still hold aspects which are similar to each other, such as their sense of justice and what is right and wrong, which is why I believe drama has less of a cultural attachment than comedy. While knowledge of a specific culture may be necessary to understand the comedy released from their country, all people can relate to the fight for justice and more so they relate to the hardships faced by the victims of the crime. Due to this is it obvious that while detective stories and characters are shaped by the culture or country they are written in, it isn’t a necessity for all detective programs to meet that requirement to find success in other places, much like Sherlock Holmes, Dirty Harry and True Detective.

By Ethan Riddell

Bibliography

• Dr Sukhmani Khorana. BCM111. (2014). Week 8 Lecture: Television in Translation (Drama Focus). Lecture slides 1-35

Images

• http://deadline.com/2014/01/true-detective-creator-nic-pizzolatto-signs-new-overall-deal-with-hbo-paving-way-for-season-2-of-breakout-drama-670947/
• http://gagapottertribute.deviantart.com/art/My-Favorite-Sherlock-Holmes-363725330
• http://tvtropes.org/pmwiki/pmwiki.php/Film/DirtyHarry

Besides “The Count” Does Anyone Count in Global Media?

While the news informs us of events and information both global and domestic, the parochial attitude of journalists accounts for a focus of media attention on what is geographically and culturally relative. This parochialism is supported by values and trends held by news agencies which set a framework for journalists allowing for the news to solely represent one country or province, though this limited scope can be seen as the reason why major international stories can be overshadowed by minor domestic issues, which begs the question; who counts in global media?

The news values mentioned above relate to trends that are held by journalist that account for the way they report on a story. They allow for the news item to be relevant to the country it’s reporting to as well as a focus on what is culturally similar rather than what is important. It also accounts for the continuity of news stories as well as the focus on negativity that is seen quite often. The news values mentioned, alongside others, allow journalists and news agencies to decide what is important to report based on cultural relevance rather that global importance.

If Australians hadn’t been on the downed flight MH17 then would Australian news agencies still be reporting the story?

At this point I feel I’m being slightly unfair to news agencies and journalists, as many international issues are the focus of news headlines, though the depth in which they report on them is open for questionability. In the lecture Dr Khorana mentioned transients as a feature of news broadcasting which involves finding the middle-ground of information on the events you’re reporting on, which she described as “somewhere between common sense and formal knowledge”. Furthermore Peter Lee-Wright wrote “it is not in the nature of news nor increasingly within its budget to stay on a story beyond its audience’s attention span. For television news in particular” (Lee-Wright, 2012 pg. 1)

Yet again this begs the question; who counts in global media?
Arguably no one.

In the news media world, relevance dictates importance rather than importance dictating relevance, which accounts for the overshadowing of international issues. Though relevance is just a construct of our culture and society and isn’t a fixed thing, it can change. Though if relevance dictates importance, and what is relevant changes based on society and culture, then is anyone actually relevant, and in that case does anyone actually count in global media?

Maybe over time as unbiased news agencies become more prominent, such as Al Jazeera and SBS World News these trends dictating importance will change allowing for the unaltered reporting of international issues that affect all people, making what is important relevant. Though with the continuation of our modern news values and trends, no one counts in global media.

By Ethan Riddell

Reference List

• Lee-Wright, P. (2012). News Values: An Assessment of News Priorities through a Comparative Analysis of Arab Spring Anniversary Coverage. Jomec Journal, p.1.
• Dr Sukhmani Khorana. (2014). Week 9 Lecture: Who Counts in Global Media (News Values). Lecture slides 7-22

Images

• http://www.tokutek.com/2014/02/whats-new-in-tokumx-1-4-bonus-part-6-faster-count-queries/
• https://storify.com/elanazak/twitter-reacts-to-new-sky-news-social-media-guidel
• http://www.mirror.co.uk/all-about/bbc
• http://pennstatermag.com/2011/06/09/lifting-the-shroud-on-al-jazeera-english/

Lost in translation or Adaption?

Jokes are ultimately a complex thing, usually complete with nuances, expression and comments that essentially form two stories in order to make us laugh; the first allows us to form an assumption on what is being said and the second proves that our assumption was wrong, usually constructed through the unexpected.

1^st: A barber asks a man “how would you like your hair cut?”

2^nd: the man replies “in silence”

While jokes can be deconstructed into two stories they still need to follow guidelines laid out by the comedy genre in order to be successful, which has been described as “a cultural and social practice that is both shaped by and contributes to historical conjuncture” (Turnbull, page 3, article page 112). While comparing the American and Australian versions of Kath and Kim I will point out the main differences between the two shows and explain how the deep Australian cultural identity seen in the program is not easily adapted to American culture.

 

The American Kath and Kim loosely adapted the style of comedy for an American audience, though for a show that has as much cultural identity to Australia as Benny Hill does for England, a half approach simply didn’t work, made evident from the first episode which was almost a direct rewrite of the first episode of the original series. On a basic level the American Kath and Kim was much of the same show though with an American gloss placed over the top, which was its crucial mistake. The original Kath and Kim was a satirical comedy based on the lives of stereotypical lower-middle class Australians whose ego’s allowed them to believe they were overly attractive and likeable people. This belief was obviously incorrect seen by the audience though the wearing of unfitting clothes, rude or indecent behaviour and the mispronunciation of words, and was a satirical representative of Australian life.

The American version used much of the same language as the original and the characters were just as egotistical, though the main difference was that they had a right to be. The American Kath and Kim lived in a large luxurious house compared to the representation of average suburbia seen in the original. Furthermore the American Kath and Kim were average American actors, meaning they were attractive people, taking away the major running joke of the original show which resulted in the program being unrealistic rather than satirical. Brian Lowry from Variety Magazine wrote “[what was] ‘seriously lost in translation’ is the role and place of irony: in this case, the gap between how a character imagines him/herself to be and how they appear to the audience” (Turnbull, page 6, article page 115, from Variety magazine)

 

In my opinion the major reason the remake of Kath and Kim was unsuccessful, besides the points mentioned previously, was cultural as America doesn’t have an equivalent of Australian Bogans or westies, and therefore took a stab in the dark at what the adaption would be like. Arguably you could say that if they adapted the show more towards the American idea of a ‘redneck’ then it may have been met with success due to a closer cultural connection.

Like I explained in the beginning a joke consists of two stories though if these stories have no cultural relevance then you aren’t able to make an assumption which in turn ruins the joke, making it lost in translation, or in this case of the American Kath and Kim lost in adaption.

 

By Ethan Riddell

Reference List

• Turnbull, S (2004) ‘Look at Moiye, Kimmie, look at moiye’: Kath and Kim and the Australian comedy of taste’. Media International Australia incorporating Culture and Policy, no. 113, pp. 98 – 109

Images

• http://www.news.com.au/entertainment/celebrity-life/us-not-so-noice-to-kath-and-kim/story-e6frfmqr-1111116870699
• http://www.denofgeek.com/tv/20279/10-american-tv-adaptations-that-went-horribly-wrong
• http://www.abc.net.au/news/2011-03-08/kath-and-kim-movie-confirmed/2664844

Cultural Flows and New Media Capitals

Through the last decade the emergence of new economic and technological powerhouse countries has seen the effect of globalisation and the ‘five scapes’ enhance, which in turn have led to new media capitals due to increased global migration and the enrichment of media-scapes, the status of which has been gained in some countries throughout Asia.

The interrelated nature of the five scapes, created by Arjun Appadurai has accounted for these global shifts in media and culture flows. For example the increased migration of people will allow for more multinational television programs being broadcasted abroad. To be able to do this though the country broadcasting media overseas would have to be on the forefront of broadcasting media technology which would possibly by obtained through multinational political deals, which in turn could boost the economies of said countries. Granted the example I just supplied is overly simplified and novelistic to a degree, it still gives basic insight to the interaction of the five scapes with ever-growing developing nations.

The strong growth of the Mumbai film industry (Bollywood) and the Hong Kong film and television industry are evidence of new media capitals emerging over the previous decade. The Hong Kong film industry, unlike the Beijing film industry mentioned in a previous blog has seen significant growth due to the effects of the global cultural flows. They have also capitalizing on cross-national partnerships with countries like Korea, to enhance the quality and market share of their industry. While many of the same qualities can be seen in the Bollywood film industry the globalization of this media has not yet reached a point in which it can aid in the spread of acceptance and multiculturalism, and in my mind is therefore not yet fulfilling its full potential.

If the spread of media emanating from Mumbai is increased to countries like Australia which has a high Asian population then arguably incidents involving racial abuse such as the violent attacks on Indian University students which was discussed previously in the course would become few and far between. While this view may be considered optimistic I have faith in the spread of logic and reason, which I believe can be obtained through understanding of alternative cultures which could be enhanced through the continued growth of these new media capitals and cultural flows.

 

By Ethan Riddell

Bibliography List

• Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. University of Minnesota Press

Images

• http://www.mela-blog.net/archives/2347
• http://www.reenakallat.com/map-drawing
• https://www.humanrights.gov.au/news/stories/people-australia-ambassadors-boost-multiculturalism

Bollywood they or wont they break into Western media?

Bollywood is a highly recognisable industry in the global market due to its exuberance through colour and dance and the sheer quantity of exports emanating from Mumbai, and while Bollywood has struggled to capitalize economically in western media, its spread over Asia has made it a dominant force in the global film market, made evident through some American and English major cinema releases which were heavily inspired by Bombay films, such as Avatar and Slumdog Millionaire.

The 2008 academy award winning cinematic release Slumdog Millionaire tells the story of a young Indian man who struggles to make his way out of the slums of India by attempting to win a TV cash game show, the questions of which segue to memories of the man which in turn tell the story of his life. While the films depiction of the “real” India raises comments of questionability, the film does give insight to Indian culture and was strongly inspired by Bollywood films, seen through the use of themes, colour and a western pop music infused Bollywood style song and dance number. Inspiration spurning from Hindi culture can also be seen in James Cameron’s 2009 film Avatar, in which the concept of the avatars themselves are descended from Hinduism.

While it can be argued that these films are further examples of the cultural appropriation carried out by the American and English film industries, it can also be said that they’re the stepping stones for the Bollywood film industry, leading to a wider acceptance and viewership in western culture. As more films are released that are inspired by Bollywood and Hindi culture in the western world, the normalisation of Bollywood will spread until they are 1:1 with Hollywood. The results of which can only be beneficial, not only to the Mumbai film industry but also in international and social relations, as the growth in India’s soft power exports will enhance multiculturalism globally through a further understanding of foreign cultures and beliefs.

By Ethan Riddell

Bibliography List

• Ezra, E and T Rowden (2006) ‘What is transnational cinema?’ in Transnational Cinema: The film reader. E Ezra and T Rowden, London, Routledge, pp. 1-12.

Images

• https://fanart.tv/movie/12405/slumdog-millionaire/
• http://www.nollywoodaccess.com/2314/bollywood-aishwarya-rai-red-sari-without-clothes-2062753630

Crouching Tiger, Hidden implications of globalisation on the film industry

Many examples have seen China or Chinese culture as a focal point of major Hollywood cinema releases, including films such as Quentin Tarantino’s Kill Bill and Michael Bay’s Transformers 4: Age of Extinction, both filmed in Hong Kong and mainland China. Further examples can be seen through certain high quality and much loved actors the country has produced such as Jackie Chan and Jet Li, which have been the lead or main actors in several Hollywood action blockbusters, such as Rush Hour (1998) and The Expendables (2010). Although these films have been met by reasonably high levels of success in the global market, the appropriation of Chinese culture by Hollywood as well as the Chinese cultural attachment to Confucianism has seen the Beijing (mainland Chinese) film industry struggle to break through to the global market, battling against the cultural imperialism of American cinema.

Unlike the Korean and Hong Kong film industries, Beijing has failed in previous years to gain the advantageous effect of film globalisation, which has been partially attributed to the lack of creation coming from the Chinese film industry. Li Huiqun explains that the deep Chinese roots in Confucianism “does not encourage innovation, but emphasizes imitation and the maintaining of tradition” (Huiqun 2010, pg. 323), which has resulted in the underutilization of Chinese cultural themes making way for the unsuccessful repetition of the style and mannerisms of Hollywood films. Seemingly a major challenge for the Chinese film industry is to shift there film focus from the adaption of American cinema to the creation of unique Chinese films, which would add a subjective view of Chinese culture to the global film market.

The issues that have faced the Beijing film industry aren’t solely the blame of Chinese traditions, though can also be also attributed to the dominance of American films in the global market, which also accounts for the replication of American film styles mentioned above. Li Huiqun estimates that in 2008 Hollywood films grossed $7.7 billion in the Asia-Pacific, which was a 12.3 per cent rise from the previous year, 81 per cent of which was contributed by Japan and China, compared to the “$1.15 billion from the domestic market and $0.40 billion from the foreign market” (Huiqun 2010, pg. 323) that was grossed by the Chinese film industry

While many examples of the positive effects of film globalisation can be found in countries around the world, it is evident from the deep Chinese traditions of Confucianism and the cultural imperialism of American cinema that these same forces have had negative impacts on the Beijing film industry, though the gaining of multinational partnerships and increase of unique Chinese story telling could see the industry rise to prominence in the future.

By Ethan Riddell

Reference list

• Huiqun, L. (2010). ‘Opportunities and challenges of globalization for the Chinese film industry’. Global Media and Communication, vol. 6, no. 3, pp. 323-328.

Images

• http://artherworldblog.wordpress.com/2013/11/19/american-film-market-conference-echoes-predictions-of-growth-in-chinese-film-markets/
• http://www.theaureview.com/asia/news/chinese-news-weekly-16th-september-2014
• http://www.economist.com/news/christmas-specials/21591741-red-carpet

P.S Learn English

In the lecture and tutorial, focus was placed on the major issues surrounding the Australian international education systems and how it’s has been designed as a means for economic gain rather than used as a cultural learning experience for all. Also we discussed the dangers faced by international students in regards to racially fuelled violence in Australia, which are serious issues that need political reform and other major changes in order to address them.

Although I can’t help but feel that these complex topics overshadowed other smaller but important issues which I have decided to focus on, such as the globalisation and more specifically the commodification of the English language and the complications of learning and effectively using the English language in Australia.

Pressure is placed on aspiring international students from a young age as the English language has become a necessity for success in western culture. Singh, Kell and Pandian wrote that “the English language has become a commodity needed to gain access to economic, educational and immigration opportunities.

This idea emerged and began to spread in the 1850’s and “can be attributed to the rise of Australian nationalism under the umbrella of the British Empire” (Kell and Vogl, page 2). This growing necessity for all cultures to learn and speak English when coming to Australia and is a form of cultural imperialism and evidence of Australia’s parochial attitude towards international students, and is only the first issue faced by international students in, or travelling to Australia.

Proper comprehension of the English language is needed for social interaction with people born in western countries as we use the English language in a way that has more focus on being understood than being grammatical, especially with Australians as we tend to speak at high speeds and use almost incomprehensible colloquial terminologies as seen in this video.

Unfortunately this seems to only widen the language barrier especially with Asian countries, as English is taught with little focus on communication skills.

Testimonials recorded by Kell and Vogl state “they teach in Japan to focus on grammar, especially writing and reading and they seldom teach communication” they go on to say that in China people learn to read and write English but spoken English isn’t seen as important.

This communication barrier between international and local students starts a perpetual cycle of Australian students not socialising with international students and international students not having the language competency to seek out social interactions, which in turn forms segregation between local and international students.

In his text, Simon Marginson states that “intercultural encounters lift students’ language proficiency in English, their communicative competence as well as strengthening confidence”. But goes on to state that while international students want closer interaction with local students; the local students themselves aren’t very interested.

Pressure is placed on aspiring international students from a young age, to study abroad and to learn and speak English, though maybe more pressure needs to be placed on Australians and local Australian students to be less parochial generally towards foreigners and to be more open and willing to seek out social interactions with international students.

Reference List & Bibliography

• Singh, M, Kell, P., & Pandian, A. (2000) Appropriating English: Innovation in the Global Business of English Language Teaching. New York: Peter Lang.

• Kell, P., & Vogl, G. (2007) International Students: Negotiating life and study in Australia through Australian Englishes, Page 2 & 5

• , S. (2012) Centre for the Study of Higher Education Melbourne, University of Wollongong, 21 February 2012, Page 1 & 5-7

• Australian Slang and Phrases video – https://www.youtube.com/watch?v=K6sn8u0GjQ0