Globalisation

 Globalisation and mass media: 

The mass media are today seen as playing a key role in enhancing globalization, and facilitating cultural exchange and multiple flows of information and images between countries through international news broadcasts, TV programming, new technologies, film and music.

Since the 1990s, most communications of media have become increasingly global, extending their reach beyond the nation-state to conquer audiences worldwide. International flows of information have been assisted by the development of global capitalism, new technologies, and the increasing commercialization of global TV, which has occurred as a consequence of the deregulation policies adopted by various countries in order to permit the proliferation of cable and satellite channels.

Aspects of Globalization: 

• Celebrity culture
• Fandoms
• Global releases of films/media content
• Political causes which transcend national barriers (e.g. BLM and Trump-haters in USA, riots/marches in other countries)
• The response of institutions to globalization - the ability for conglomerates to be multi-national and expand their reach (Big Tech/Big 5)
• Case Study: e.g. Hollywood appeasing Chinese censorship rules
• The responses of audiences to globalization
• NZ's response to globalization - the fact that the NZFC is still wanting to fund NZ films, films that tell NZ stories, our indigenous peoples stories and also for tourism sake
• Sharing of information and cultures - pop culture driven by the West (hegemony - the rich/powerful dominate the content being produced)

Assimilation 

Compare martial arts films in the US with those from Asian film industries. E.g. Asian talent flows into Hollywood as its studios remake Asian films (the 'Asianisation of Hollywood') and the 'Hollywoodization of Asian film industries'

Us films hold the dominant position across the world (based on the data of 34 countries). However, there are arguments that US films should modify its contents to meet the different tastes of local fans instead of merely expressing 'US imperialism' as a way to further expand its market. this is because a number of countries will tend to resist the dominance of US films by introducing policies that promote national films while restricting those from the US. The focus of this view on globalization is merely on market expansion, but it opens up a question on whether localization (of US films) can be understood as part of a strategy for globalization or not.

Governments incentivizing local film industries 

Despite these globalized aspects in the film industry, protectionism, and anti-globalization appeared early on, particularly with the advent of films as this medium has been closely linked to a country's culture and the economy. Given this perceived impact on a nation's identity, many governments have long sought to implement trade barriers or incentives to protect their local film industries.  They may attempt to restrict the business activities of foreign film companies as well as limit the import and/or exhibition of foreign films. By contrast, some governments have offered incentives such as cash rebates, cash grants, tax credits, subsidies, and tax exemptions to help the local film industry in the face of foreign films. More actively, they have signed bilateral treaties such as international film co-production agreements, preferential trade agreements, or even project their protectionist ideas over an international organisation under the name of cultural exception and cultural diversity.

Case Study: Black Panther

Global Release Strategy: 

• 'This wasn't just for our core marvel fans. We went about making it feel like a cultural event'
• Black Panther's marketing plan propelled the film to gain a worldwide gross of more than (US) $1.3 billion 
• Black Panther is the first event superhero film to feature a predominantly black cast. It portrays a nuanced reimagining of African culture, in addition to themes of pride and power
  
  
• Black Panther was marketed with an African American audience in mind
• The North American audience for the film was 37% African American - the general black audience for superhero films are usually around 15%
• The film focused on cultural marketing. Kendrick Lamar curated the cultural soundtrack, and Marvel and Disney sought to advertise trailers for the film during broadcasts of sports that have a strong African American following
• There was even a Black Panther themed fashion show during New York Fashion Week which sought to make a positive impact - 'Welcome to Wakanda' brought together noted fashion designers with proceeds helping Save The Children
  
  
• Black Panther was released to coincide with the start of Black History month in the US
• The film was seen as groundbreaking with regard to casting and cultural representation, going beyond the limits of genre to create positive role models for younger generations
  
  

The Dark Knight - Viral Marketing:

May 2007: Why So Serious?

• In the months leading up to the Dark Knight, an alternate reality game attracted more than 10 million unique players
• All over the world comic-con players gathered to 'take orders from the Joker'
• Scavenged for clues (phone number in the sky)
• A ransom note was brought to life in 49 cities
• Hit local landmarks in full Joker makeup from London to the Middle East to Pennsylvania to India
• Worldwide community was formed
• Players picked up cakes from bakeries in America with a hidden package inside - a Joker phone
• Dent mobiles rallied campaigners in 33 cities across the US
• Citizens marched, protested, rallied, screamed and charted
• One of the most interactive movie-marketing campaigns ever hatched by Hollywood - The Los Angeles Times, March 2008
• Scavenger hunts around the world revealed the latest trailer (Jokerized trailer)
• A transmedia experience with over 10 million participants in over 75 countries played across hundreds of web pages, interactive games, mobile phones, print, email, real world events, video and unique collectibles
• The dark knight had the most advanced pre-sale tickets ever with opening night, morning, midnight, 3AM and 6AM showings SOLD OUT
• Biggest opening day of all time
• Top grossing film of the year
• Seattle, Portland, San Francisco, Los Angeles, Scottsdale, Tucson, Boulder, Denver, Colorado Springs, Kansas City, Columbia, College Station, Austin, Houston, St. Louis, South Bend, Chicago, Madison, Salt Lake City