Global media products like films, music, and television shows are spread globally but locally re-expressed through processes of hybridization. While symbols and ideologies from global media are interpreted locally, this does not produce a standardized global culture. Examples discussed include the appropriation of Rambo and hip hop in local cultures, and the hybrid identity construction through the global diffusion and local reception of Dallas, Brazilian telenovelas, and Mexican telenovelas. The author argues that the current global media culture is dynamic, differentiated, and pluralized through consumer practices and reception, challenging views of negative cultural consequences of globalization.

1. Global Media, Cultural Change andGlobal Media, Cultural Change and
the Transformation of the Local: Thethe Transformation of the Local: The
Contribution of Cultural Studies to aContribution of Cultural Studies to a
Sociology of Hybrid FormationSociology of Hybrid Formation
Rainer Winter
In: Global America.
The Cultural Consequences
of Globalization (Beck; Sznaider; Winter)
Dott.ssa. Leticia Carro Zanella

2. Information about authorsInformation about authors

Ulrich BeckUlrich Beck: Professor of Sociology at the University of
Munich and Visiting Centennial Professor of the London
School of Economics and Political Science. Website:
http://www.ulrichbeck.net-build.net/

Natan SznaiderNatan Sznaider: Associate Professor of Sociology at the
Academic College of Tel-Aviv in Israel. Website:
https://www.mta.ac.il/en/lecturers/259/Pages/default.aspx

Rainer WinterRainer Winter: sociologist, Professor of Media Theory and
Cultural Studies and Director of the Institute of Media and
Communication Studies at the University of Klagenfurt
(Austria). Website: http://www.rainer-winter.net/index.php?
option=com_frontpage&Itemid=1

3. …… Information about authorsInformation about authors
Others contributorsOthers contributors::
Gerard Delanty (University of Liverpool); Eva Illouz (University of
Jerusalem); Yu Keping (China Center for Comparative Politics and
Economics in Beijing); Rob Kroes (University of Amsterdam);
Richard F. Kuisel (Georgetown University); Jan NederveenJan Nederveen
Pieterse (University of Illinois at Urbana-Champaign); Aihwa Ong
(University of California at Berkeley); Motti Regev (The Open
University of Israel); George RitzerGeorge Ritzer (University of Maryland);
Roland RobertsonRoland Robertson (University of Aberdeen, Scotland); Todd
Stillman (University of Maryland); John Tomlinson (Nottingham
Trent University)

4. Information about the bookInformation about the book

PART IPART I - THEORETICAL PERSPECTIVES:- THEORETICAL PERSPECTIVES:
Cosmopolitanism, McDonaldization, Americanization, Globalization,
Culture, Modernity.

PART IIPART II - NATIONAL CASE STUDIES:- NATIONAL CASE STUDIES:
U.S.A, France, Japan, China.

PART IIIPART III - TRANSNATIONAL PROCESSES:- TRANSNATIONAL PROCESSES:
Techno-Migrants in the Network Economy; The Case of the
Holocaust; Suffering as Identity in the Era of Globalization;
“Rockization”; The Internet: An Instrument of Americanization?

The chapter of Winter belongs to the third partThe chapter of Winter belongs to the third part

5. Chapter 11 – Global Media, CulturalChapter 11 – Global Media, Cultural
Change and the Transformation of theChange and the Transformation of the
locallocal
SummarySummary:: The aim of Winter is to make a
contribution to a sociology of hybrid
formations through cultural studies.
Analysis of the impact of mass media in the
society and the influence on this
phenomena in conformity, passivity,
racism, violence and political apathy. What
is the impact of globalization in regional
cultures? Analysis of American lifestyles
and diffusion of mass culture around the
world.

6. ThesisThesis:: “the current global media culture cannot be“the current global media culture cannot be
adequately understood within this negativeadequately understood within this negative
framework. It loses sight of the dynamism,framework. It loses sight of the dynamism,
differentiation and pluralization of popular culturedifferentiation and pluralization of popular culture
spread by the media as well as the practices andspread by the media as well as the practices and
productivity of the consumers”productivity of the consumers” (R. Winter, p. 206).(R. Winter, p. 206).

RamboRambo and the Ideology of “Global America”and the Ideology of “Global America”

Difference, Syncretism and Hybridity in MediaDifference, Syncretism and Hybridity in Media
Reception (Reception (Dallas and Hip Hop)Dallas and Hip Hop)
* Discussion about de-
territorialization, syncretization and
hybridization
* “New regionalism” vs. cultural
homogenization

7. The author proposes:
Show, using a cultural studies approach,Show, using a cultural studies approach,
how the reception and appropriation ofhow the reception and appropriation of
global media products in various localglobal media products in various local
contexts is shaped by difference,contexts is shaped by difference,
syncretism and hybridity...syncretism and hybridity...
* Debate Global / Local* Debate Global / Local
* Debate Homogeneity / Heterogeneity* Debate Homogeneity / Heterogeneity
* Globalization / Glocalization /* Globalization / Glocalization /
GrobalizationGrobalization
* Differencialism / Convergence / Hybridity* Differencialism / Convergence / Hybridity

9. RamboRambo

In South and East Asia, Rambo has become a popular figure.

Is an example that corroborate the aim of the global cultural
industry as the homogenizing culture.

““RamboRambo is an imperialistic text representing the values andis an imperialistic text representing the values and
ideologies of American capitalism, it leads, like Coca-Cola,ideologies of American capitalism, it leads, like Coca-Cola,
Donald Duck orDonald Duck or DallasDallas, to the American way of life becoming, to the American way of life becoming
the standard throughout the world (…) In this interpretation, thethe standard throughout the world (…) In this interpretation, the
globalization process leads by and large to a stereotyped,globalization process leads by and large to a stereotyped,
common world culture” (R. Winter, p. 207).common world culture” (R. Winter, p. 207).
Sylvester Stallone as John Rambo, a
troubled Vietnam War veteran and
former Green Beret who is skilled in
many aspects of survival, weaponry,
hand to hand combat and guerrilla
warfare.

10. RAMBORAMBO
VIOLENCE AND
AMERICAN ADVERTISING: IS AN
ATTRACTIVE FIGURE IN MANY
CULTURES AROUND THE
WORLD
STEREOTYPED OF
AMERICAN CULTURE.
APPROPIATION BY
LOCAL CULTURES
FIGHT FOR IDEALS
AND
PRINCIPLES
(FEEDOM, JUSTICE)
IS AN EXAMPLE OF
“AMERICANIZATION” AND
HYBRIDITY. DEBATE
GLOBALIZATION /
GLOCALIZATION
INFLUENCE OF MASS
MEDIA (FILMS, ANIMATED
SERIES, VIDEO GAMES),
MUSIC, BOOKS, T-SHIRT, DOLLS...

12. HIP HOP MusicHIP HOP Music

Popular music in American ghettos (Bronx) in the 1970s
and 1980s.

Afro-American music culture that expressed:
oppression, poverty, humiliating live conditions, racism.

Hip Hop has become a global product spread by the
American cultural industry (today this music is very
famous around the world and has integrated local
rhythms).

The hip hop culture is not only the music: variety of forms
of cultural expression (rap music, breakdance, graffiti, DJ
club, wild-style...).

Has become popular in the world by CDs, music videos,
regular programme on MTV, films (Wild Style).

13. StylisticStylistic
originsorigins
CulturalCultural
originsorigins
TypicalTypical
instrumentsinstruments
DerivativeDerivative
formsforms
SubgenresSubgenres FusionFusion
genresgenres
RegionalRegional
scenesscenes
Funk,
disco, dub,
rhythm
and blues,
reggae,
toasting,
perfor-
mance
poetry,
spoken
word,
signifyin,T
he
Dozens,
scat
singing,
talking
blues
1970s, the
Bronx,
New York
City
Turntable,
synthesizer,
DAW, rapping,
drum machine,
sampler,
drums, guitar,
bass, piano,
beatboxing,
vocals
Electro,
breakbeat,
oldschool
jungle, drum
and bass,
trip hop,
grime,
breakbeat
hardcore,
neo soul, big
beat
Alternative hip
hop –
Turntablism –
Christian hip hop
– Conscious hip
hop –
Experimental hip
hop – Freestyle
rap – Gangsta
rap – Homo hop
– Hardcore hip
hop –
Instrumental hip
hop – Mafioso
rap – Political hip
hop – Chicano
rap – Native
American hip hop
Country rap
– Australian
hip hop –
Hip hop
soul – Hip
house –
Crunk –
Hyphy –
Jazz rap–
Merenrap –
Neo soul –
Ragga–
Reggaeton
– Rap
opera –
Rap rock–
Rapcore –
Rap metal –
Cumbia rap
– Merenrap
–Wonky...
Atlanta hip
hop –
Bangladeshi
hip hop – East
Coast hip hop
– West Coast
hip hop –
Southern hip
hop –
Midwest hip
hop –
Southwest hip
hop – British
hip hop –
French hip
hop – Kenyan
hip hop –
Japanese hip
hop – Korean
hip hop...

14. HIP HOPHIP HOP
RECYCLING OF “TRADITION”
LYRICS ABOUT
SOCIAL PROBLEMS,
CRITICAL
CONSTRUCTION OF IDENTITY:
IDENTITY MODELS BECOME
GLOBALLY SIGNIFICANT
CONSUMER GLOBAL
MERCHANDISE:
Cds, XXL clothing, baseball
caps, trainers, chains.
(Importance of Nike, Adidas,
Reebok...)
YOUNG PEOPLE VS. OLD PEOPLE
GLOBAL COMMUNITIES, GLOBAL
IDENTITIES AND SOCIAL
COHESION

16. ““Telenovelas” and Soap Operas:Telenovelas” and Soap Operas:
U.S.A and Brazil / MexicoU.S.A and Brazil / Mexico
R. Winter: Dallas (U.S.A soap opera).
T. Tufte (UNESCO; University of Copenhagen, Denmark):
Telenovelas in Brazil and Mexico.

Important role in the popular education, social development
and strategic communication (associated to political power).

Spaces of identity: producing meanings in hybrid spheres of
signification.

Global identity (homogenization) Vs. Local identity
(heterogenization). Creation of hybrid identity with the
appropiation by local cultures (names and characters of actors,
identification with the situations...).

UNICEF, UNESCO: Entertainment-Education project (E-E).

17. DALLASDALLAS
1978–1991 American
television series
BRASILIAN TELENOVELASBRASILIAN TELENOVELAS
2009 Caminho das Indias:
India a Love Story by Gloria
Perez
MEXICAN TELENOVELASMEXICAN TELENOVELAS
1975-1977-1979 Triology of
telenovelas by Irene Sabido
CBS Broadcasting Inc.
(principal US commercial
broadcasting television
network corporation)
REDE GLOBO
(principal Brazilian television
network corporation)
TELEVISA
(principal Mexican multimedia
mass media company, the
largest in Latin America and in
the Spanish-speaking world)
Consumption of american
culture (center ---> world).
Americanization,
homogenization
Consumption of “world
culture”, transnational
processes.
Hybridization
Consumption of local culture
by the local society in a global
context.
Glocalization,
heterogenization
Exporting american culture
in the world. Dallas was a
synonym of cultural
imperialism in the 1980s:
presentation of riches and
luxury, expensive clothes and
automobiles. It was one of
the first series distributed
around the world (90
countries). Dallas is
considered an unrealistic
representation of American
society
Mixing the global and the
local world and proposes an
hybrid world: brasilian
telenovela about the love
story between an indian girl
belongs to higher caste and a
“untouchable” boy (without
caste). The story has a range
of 20 years and characters
must adapt to a new culture
and religion in the context of
globalization
Entertainment-Education:
process of implementing a
media message to entertain
and educate the audience
with educational issues and
favourable attitudes in order
to contribute to directed social
change. United Nations
recognizes the important role
of these telenovelas because
show social problems to the
audience (street children,
violence, illiteracy...)

18. Conclusions and QuestionsConclusions and Questions

Films, soap opera (Telenovelas) and Music are global mediaFilms, soap opera (Telenovelas) and Music are global media
products. These are locally re-expressed through processesproducts. These are locally re-expressed through processes
of de-territorialization and hybridization.of de-territorialization and hybridization.

Simbols and ideologies are re-interpreted: local meaningsSimbols and ideologies are re-interpreted: local meanings
and global flows of signs, information and images (but thisand global flows of signs, information and images (but this
do not produce a standardized culture). Hybrid culture.do not produce a standardized culture). Hybrid culture.

This situation help us to consider the following questions:
1. What is the role of civil society in the social and global change if
telenovelas or films have the power to manipulate us and are an
instrument of social, political and economical control?
2. What is the role of social networks (facebook, twitter...) in the
transformation of the “local” and the construction of “new
regionalism” and transnationalism?

19. Possible answers....Possible answers....

Mass media and social networks have an important role in
the social change because they have the principal control of
public opinion in the global world.

Experiences such as Entertainment Education in Mexico
show us the recognition of them which a socio-cultural force.

They are also an important agent to solve development
problems in Latin America or Africa (E-E in South Africa).

There are many problems: Is possible for “Rede Globo”,
“Televisa” or “CBS” to serve the public interest of social
development without sacrificing commercial objectives?
What happen with political objectives? (In Brazil, Rede
Globo became the principal partner of the ex-president Da Silva
and supported his election campaign).

20. J. Nederveen Pieterse – Handbook: Globalization
as Hybridization, p. 326-333
 Asymmetry and inequality in global relations.
 Hybridity is syncretism (mimicry), hybridity as migration mélange
(mixed cultural patterns), construction of a continuum of
hybridities.
 “Relations of power and hegemony are inscribed and
reproduced within hybridity” (p. 328).
 “Hybridization is the making of global culture as a global
mélange” (p. 330).
 The analysis dipends of assumptions about culture concept
(territorial culture vs. translocal culture) and cultural relations
(static vs. fluid).
 Discussion about globalization/homogenization vs.
globalization/heterogenization.

21. M. M. Kraidy – Handbook: The Global, the Local, and the
Hybrid: a Native Ethnography of Glocalization, p. 351-356.
 Hybridity as:
 consumption (appropiation by the local culture),
 mimicry (dissimulate vs. simulate)
 nomadism (media audiences as nomadic communities of
“impossible subjects”; migrant vs. nomad).
 Hybridity is not a negation of identity: is an inevitable and
quotidian condition.
 Hybridity as glocalization: intersection of globalization and
localization (p. 355).
 Articulation of hybridity with hegemony.
 Local/Global interactions are dialetical.

22. “The global postmodern era is marked by
erosion and the diminishing significance of
the nation state. Because this is not
determined by cultural coherence, the
global village is shaped by a 'realm of
uncertainty' (…) on one hand, an
expression of consumer freedom (….) [and]
an expression of individuality (…) On the
other hand (…) these uses and
interpretations can be seen as contingent
creations of meaning dynamic, conflict-rich
and contradictory everyday life which is
shaped by globalization”
(Rainer Winter, p. 219)