Description

The course presents and discusses the impact of globalization on the artistic creativity, and on the production, distribution and reception of artistic goods. Special emphasis is placed upon the emergence and the functions of the global multimedia conglomerates, as well as upon the global asymmetries in the cultural field.

The new forms of art and the new forms of the artistic communication are analyzed in the context of the convergence brought about by the Internet. The impact of globalization on the cultural policy, on the taste and artistic ideology is explored, and the possibilities for further democratization of the artistic communication are discussed in this context.

In the first part of the course, the modern system for the production of culture is outlined. In the second part, globalization is introduced as a complex phenomenon and the main approaches are presented, emphasizing on issues concerning the production and circulation of cultural goods. The emergence of the global multimedia conglomerates and the Internet are analyzed, and the impact of these developments on the artistic communication are discussed from a functional and structural point of view. The new cultural asymmetries appearing on a global level are explored as well as their significance for tastes and for the cultural policy that faces new issues. In this context, the crisis of various forms of art is discussed.

The course is modified to comply with the purposes of the ERASMUS+ and other international programmes of the School, as the multicultural audience of the international programmes is taken into account. Several specific issues related with the interests of the students from various countries, are presented and discussed. The topics covered vary depending on the origin of the audience.

Objectives

• To introduce and discuss the developments observed on a global level and affecting the production, distribution and reception of symbolic forms in general and the arts in particular conceived of as forms of communication and social practice.
• To contribute for a better understanding of the political and ideological significance of these developments and of the conditions they create for the artistic communication, and for the value systems, the views, and the collective attitudes and forms of practice.
• To contribute for a better understanding of the significance that the convergence between economy, politics and culture has, as well as of its structural consequences.

Main issues covered – indicative syllabus

A more detailed outline of the course and the PowerPoint files used in class are available through e-learning. A user name and a password are required to get access to this system. Information is available at the School library.

1. The production of culture & the cultural markets
2. Theories on globalization
3. Main features of globalization & the production of culture
4. Institutional and organizational dimensions of globalization – production and circulation of cultural goods
5. The global multimedia conglomerates & the flows of cultural goods and services
6. Cultural asymmetries & contradictions on a global level

Suggested literature

The additional literature is usually modified and customized through consultations, depending on the topic chosen by the students for each essay and on the current syllabus. The following literature is indicative (for the television, the radio and the music press). Some texts are accessible through the campus net, while others are available in the library:

• David Held, Anthony McGrew (2007), Globalization/Anti-Globalization: Beyond the Great Divide. Cambridge, Malden (MA): Polity Press.
• John B. Thompson (1995), Media and Modernity: A Social Theory of the Media, Chapter 5: "The Globalization of Communication", pp. 149-178. Cambridge, Oxford: Polity Press.
• Joost Smiers (2004), Artistic Expression in a Corporate World. Do We Need Monopolistic Control? Utrecht: Utrecht School of Arts.
• Justin O'Connor (2010), The Cultural and Creative Industries: A Literature Review (2nd ed.). Newcastle: Creativity, Culture and Education.
• Raymonde Moulin (2009), Le marché de l'art : Mondialisation et nouvelles technologies. Paris: Flammarion.
• Oliver Boyd-Barrett (1989), "Media Imperialism: Towards an International Framework for the Analysis of Media Systems". In Mass Communication and Society (James Curran, Michael Gurevitch, Janet Woollacott, eds.), pp. 116-135. London, Melbourne, Auckland: Edward Arnold.
• Robert J. Lieber, Ruth E. Weisberg (2002), "Globalization, Culture, and Identities in Crisis". International Journal of Politics, Culture and Society, 16(2): 273-296.
• Annamma Joy, John F. Sherry, Jr. (2003), "Disentangling the Paradoxical Alliances between Art Market and Art World". Consumption, Markets and Culture, 6(3): 155-181.
• Justin O'Connor (2005), "Creative Exports. Taking Cultural Industries to St Petersburg". International Journal of Cultural Policy, 11(1): 45-60.
• Nikos Papastergiadis (2005), "Hybridity and Ambivalence. Places and Flows in Contemporary Art and Culture". Theory, Culture & Society, 22(4): 39-64.
• Joost Smiers (2003), Arts under Pressure. Promoting Cultural Diversity in the Age of Globalization. London, New York: Zed Books.
• Sylvia M. Chan-Olmsted, Byeng-Hee Chang (2003), "Diversification Strategy of Global Media Conglomerates: Examining its Patterns and Determinants". Journal of Media Economics, 16(4), 213-233.
• Michael Stephan (2005), "Diversification Strategy of Global Media Conglomerates: A Comment". Journal of Media Economics, 18(2), 85-103.
• Elana Shefrin (2004), "Lord of the Rings, Star Wars, and Participatory Fandom: Mapping New Congruencies between the Internet and Media Entertainment Culture". Critical Studies in Media Communication, 21(3): 261-281.
• Carl Boggs, Tom Pollard (2001), "Postmodern Cinema and Hollywood Culture in an Age of Corporate Colonization". Democracy & Nature, 7(1): 159-181.
• Alexandros Baltzis (2005), "Globalization and Musical Culture". Acta Musicologica, LXXVII/1: 137-150.

Evaluation

The evaluation is based on essays of 2.500-3.000 words. The topics are defined in consultation with the instructor during the weeks 9 through 11. They are based on the scope of the course, on the issues analyzed and discussed during the semester, and on the more specific topics that appear on the course pages in e-Learning, in the Course Material section. The course outline (provided each semester) can be used as a topics list, but it is not exclusive, leaving space for additional proposals. Additional literature and support is provided through consultations.

Grading criteria

The evaluation is influenced by the participation in the course during the semester and the collaboration for the assignment (10%), but it is mainly determined by the soundness of the final essay (90%): consistency and clarity of structure, academic style of discourse and relevance with the course topics, quality of the chosen sources and use of references, quality of documentation. Essays must comply with the guidelines provided in the teaching page.

Information about the next exam session, exam dates and essay due-dates can be found in the announcements page (provided that the exam dates have been announced).