流行文化與全球傳播
Popular Culture and Global Communication
學期
111-1
學分
3
學分
當期課號
330101
永久課號
HKCT30017
開課單位
傳播與科技學系
授課教師
黃淑鈴
校區
六家
類別
選修
上課時間表
| 節 | 週二 |
|---|---|
2 09:00–09:50 | 流行文化與全球傳播 HK206 3 節連堂 |
3 10:10–11:00 | |
4 11:10–12:00 |
* 根據陽明交大上課時間表所列
概述
從Netflix到YouTube網紅,從好萊塢、K-pop到日漫,我們日常所熟悉的流行文化深受全球化的影響。流行文化如何跨國流動?產生什麼樣的連結?全球與在地的互動為何? 本課程將從「全球傳播」的視角,帶領同學從產製、流通、科技、消費等不同層面,了解流行文化跨國流動的成因、策略與影響。在這門課中,我們獎熟悉:(1)全球傳播的核心概念,如文化帝國主義、全球在地化、混雜化、文化接近性、文化逆流、文化軟實力等;(2)媒體跨國的趨勢,如電影的國際合製/全球分工/系列化、電視的GVC/模式交易、串流平台的新流通模式、跨媒體IP、社交媒體娛樂的發展等;(3)最後則以東亞國家(日韓中台等)的案例進行討論。 透過這門課的學習,同學將從中培養對於媒體現象的觀察與批判思考能力,並習得相關概念、應用於未來傳播實務工作。
先修科目
無
評分方式
1. 導讀(30%) 當週指定論文重點整理與呈現,共2次。鼓勵同學補充論文外的資料,並反思、帶領討論。ppt,當週週一23:59前上傳e3。 2. 每週閱讀摘要與提問(30%) 簡述當週指定論文各篇的重點,共5次,包括論文的要旨(theme)、重要概念(concepts)及論點(arguments)等,以及你的評論或討論問題,約750字(word檔),當週週一13:00前上傳e3。 3. 期末project(25%) 形式不拘,但主題必須與本課程的內容與概念相關。個人或2人1組均可,12/25 23:59前將作品與ppt簡報上傳e3。 4. 課堂參與(15%) 含出席與參與討論。
週次計畫
| 週次 | 主題 |
|---|---|
| 第 1 週 | Introduction *登記讀本、導讀 |
| 第 2 週 | Global Communication Marko Ampuja (2019) Four Moments of International Communication Research in the Cold War and beyond, Javnost - The Public, 26:4, 347-362. Kraidy, M. M. (2018). Global Media Studies: A Critical Agenda. Journal of Communication, 68(2), 337-346. |
| 第 3 週 | Global Hollywood Moody, P. (2017). U.S. Embassy Support for Hollywood’s Global Dominance: Cultural Imperialism Redux. International Journal of Communication, 11: 14, 2912-2915. Wasko, J. (2020). Understanding Disney (2 Ed.). Cambridge, UK: Polity. Press.(Chap.2, The Disney Empire, pp.31-70) |
| 第 4 週 | Film Franchise Benson, N. (2022). “For your future enjoyment”: managing intellectual property through franchise refurbishment. Media, Culture & Society, 44(3), 428-444. Kidman, S. (2021). The Disneyfication of Authorship: Above-the-Line Creative Labor in the Franchise Era. Journal of Film and Video, 73(3), 3-22. |
| 第 5 週 | TV Transnationalization Chalaby, J. K. (2016). Television and Globalization: The TV Content Global Value Chain. Journal of Communication, 66(1), 35-59. van Keulen, J., Bauwens, J., & Krijnen, T. (2020). “Everyone Working a Little More. Closely Together”: The Transnationalization of Creative Production in TV Production Conglomerates. Television & New Media, 21(7), 749-767. |
| 第 6 週 | Technology and New Global Mediascape Chalaby, J. K. (2020). Standing on the shoulders of tech giants: Media delivery, streaming television and the rise of global suppliers. New Media & Society, 23(11), 3206-3228. Hesmondhalgh, D., & Lotz, A. D. (2020). Video Screen Interfaces as New Sites of. Media Circulation Power (Vol. 14). International Journal of Communication, 14:386-409. |
| 第 7 週 | Streaming Service and Media Flows Gaw, F. (2022). Algorithmic logics and the construction of cultural taste of the Netflix Recommender System. Media, Culture & Society, 44(4), 706-725. Lotz, A. D., Eklund, O., & Soroka, S. (2022). Netflix, library analysis, and globalization: rethinking mass media flows. Journal of Communication, 72(4), 511-521. |
| 第 8 週 | Ethnic Representation Watch Frozen II or Avatar and discussion Jalilvand, H. (2021). James Cameron’s Avatar and the Filmic Legacy of the White. Hunter. Journal of Popular Film and Television, 49(2), 92-108. Kvidal-Røvik, T., & Cordes, A. (2022). Into the unknown [Amas Mu Vuordá]? Listening to Indigenous voices on the meanings of Disney’s Frozen 2 [Jikŋon 2]. Journal of International and Intercultural Communication, 15(1), 17-35. |
| 第 9 週 | Social Media Entertainment Cunningham, S., & Craig, D. (2019). Social media entertainment: the new. intersection of Hollywood and Silicon Valley. New York: New York University Press. (Introduction, Chap1: Platform Strategy, pp. 19-64) Craig, D., Cunningham, S., & Lv, J. (2021). Critical Media Industry Studies: The. Case of Chinese Livestreaming. In D. Craig & S. Cunningham (Eds.), Creator Culture: An Introduction to Global Social Media Entertainment (pp. 96-114). New York: New York University Press. |
| 第 10 週 | Contraflow Thussu, D. K. (2018). International Communication: Continuity and Change (Vol. 3). London: Bloomsbury Academic. (Chap3: Contraflow in global media, pp.191-223) Wang, C., Lucyann, K., & Marta, R. F. (2021). Film distribution by video streaming platforms across Southeast Asia during COVID-19. Media, Culture & Society, 43(8), 1542–1552. |
| 第 11 週 | South Korea Kim, S.-Y. (2018). K-pop Live: Fans, Idols, and Multimedia Performance. Stanford, CA: Stanford University Press.(chap.1, Historicizing K-pop,pp.25-51) Yecies, B., Shim, A., Yang, J., & Zhong, P. Y. (2020). Global transcreators and the. extension of the Korean webtoon IP-engine. Media, Culture & Society, 42(1), 40-57. |
| 第 12 週 | Japan Craig, T. (2020). Cool Japan: Inside Japan’s Cultural and Creative Industries. : Ashiya, JP: BlueSky Publishing. (Chap.1, The “Cool Japan” Strategy: Industrial Policy for Cultural Industries, pp.8-30; Chap.9, The Japanese Anime Industry: Studio Trigger Finds its Mark, pp,197-231) |
| 第 13 週 | 期末project討論 |
| 第 14 週 | China and Taiwan Zhu, Y. (2022). Hollywood in China: Behind the Scenes of the World’s Largest Movies Market. New York & London: The New Press. (chap8. Journey Home or to the West: Chinese Cinema’s Hollywood Dream and the Sino-Hollywood (De)Coupling, pp.226-257) Lai, J. Y.-H. (2020). Divergent staging of East Asian patriarchy within the Confucian. order in Taiwan's transnational television drama co-productions. Continuum: Journal of Media & Cultural Studies, 34(5), 651-664. |
| 第 15 週 | 期末project撰寫/製作(不上課) |
| 第 16 週 | 期末project報告 |
教科書
見課程進度各週所列教材。
Office Hours
- 地點
- HK235
- 時間
- 周二13:30-15:30 (HK235)
- 聯絡方式
- shuang9917@nycu.edu.tw 分機58714