流行文化與全球傳播
Popular Culture and Global Communication
學期
112-2
學分
3
學分
當期課號
330104
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
必修
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,我們將熟悉:(1)全球傳播的理論概念,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)媒體跨國的現象與趨勢,如好萊塢電影的支配與系列化、電視的跨國產製與流通、串流平台的新流通模式、社交媒體娛樂的發展等;(3)最後則以東亞國家(日韓中台等)位主要案例進行討論。 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
大四或碩士班
評分方式
1. 導讀(30%) 導讀2次,每次約30分鐘,內容應包含(1)當週指定論文的重點整理,特別是主要概念(key concept)及其定義、論點(arguments)的闡述、研究主要發現等;(2)論文相關案例的補充與介紹;(3)反思與討論。以ppt呈現,當週週一23:59前上傳e3,並於上課前印出紙本給所有同學。 2. 每週閱讀摘要與討論(30%) 簡述當週指定論文(2篇)的重點,共6次,包括論文的要旨(theme)、重要概念(concepts)或論點(arguments)等,以及你的評論或提問,約750字(word檔),當週週一13:00前上傳e3。 3. 期末project(25%) 可為(1)學術論文(2人1組,約12000字);(2)現象分析(1人1組,約6000字,以課程相關理論或概念分析全球傳播現象);(3)其他形式(與老師討論)。6/2 23:59前上傳e3。 4. 課堂參與(15%) 含出席與參與討論(上課除非需要請關閉3C產品)。
週次計畫
| 週次 | 主題 |
|---|---|
| 第 1 週 | Introduction *登記讀本、導讀 |
| 第 2 週 | Global Communication Ampuja, M. (2019) Four Moments of International Communication Research in the Cold War and beyond, Javnost - The Public, 26:4, 347-362. Chalaby, J. (2023). Global Communication and the GVC Framework. In J. Chalaby (Ed.), Television in the Streaming Era: The Global Shift (pp. 10-23). Cambridge: Cambridge University Press. |
| 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, 2912-2925. 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 4 週 | Representation of Hollywood Films Rowe, R. (2022). Disney Does Disney: Re-Releasing, Remaking, and Retelling Animated Films for a New Generation. Journal of Popular Film and Television, 50(3), 98-111. 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. |
| 第 5 週 | TV Transnationalization Chalaby, J. (2023). Content Production. In J. Chalaby (Ed.), Television in the Streaming Era: The Global Shift (pp. 102-119). Cambridge: Cambridge University Press. 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 | Streaming Service and Media Flows Lotz, A. D., Eklund, O., & Soroka, S. (2022). Netflix, library analysis, and. globalization: rethinking mass media flows. Journal of Communication, 72(4), 511-521. Jenner, M. (2023). Transnationalising the Franchise. In Netflix and the Re-invention of Television (pp. 251-271). Cham: Springer International Publishing. |
| 第 7 週 | Social Media Entertainment Cunningham, S., & Craig, D. (2021). Introduction. In C. Stuart & C. David (Eds.), Creator Culture (pp. 1-18). New York, USA: New York University Press.(只要閱讀pp.1-9) Zulli, D., & Zulli, D. J. (2022). Extending the Internet meme: Conceptualizing technological mimesis and imitation publics on the TikTok platform. New Media & Society, 24(8), 1872-1890. |
| 第 8 週 | 來賓演講 楊牧軒Shawn Yang (Netflix Head of Public Policy, Taiwan) |
| 第 9 週 | Transverse Flow? Straubhaar, J., Santillana, M., de Macedo Higgins Joyce, V., & Duarte, L. G. (2021). Streaming Television, Netflix, and Transverse Transnationalism. In From Telenovelas to Netflix: Transnational, Transverse Television in Latin America (pp. 159-201). Cham: Springer International Publishing. Jin, D. Y. (2023). Transnational Proximity of the Korean Wave in the Global Cultural Sphere. International Journal of Communication (19328036), 17, 9-28. |
| 第 10 週 | Soft power Algan, E., & Kaptan, Y. (2023). Content is power: Cultural engineering and political control over transnational television. International Communication Gazette, 85(3-4), 325-344. Xiang, Y., & Wang, J. (2022). Nationalism and heroism with Chinese characteristics: a critical discourse analysis of Wolf Warrior II. Continuum: Journal of Media & Cultural Studies, 36(5), 751-762. |
| 第 11 週 | K-pop Sun, Q., Paje’, D., & Lee, H. (2023). “Female empowerment is being commercialized”: online reception of girl crush trend among feminist K-pop fans. Feminist Media Studies, 23(8), 4156-4169. Ji-Hyun, A. H. N. (2023). K-Pop Without Koreans: Racial Imagination and Boundary Making in K-Pop. International Journal of Communication, 17, 92-111. |
| 第 12 週 | Japanese Anime Noh, Susan. 2024. "Global Media Streams: Netflix and the Changing Ecosystem of. Anime Production." Television & New Media 25 (3):234-50. Denison, R. (2023). Gekijōban (theatrical version) anime as feature films in anime franchising. Japan Forum, 35(1), 98-119. |
| 第 13 週 | 期末project討論 *與老師分組討論。 |
| 第 14 週 | Taiwanese TV dramas Peng, H.-P. (2023). Creative Genre Matters: Trendy Drama and the Rise of the East Asian Global Media Market. Television & New Media, 24(5), 549-558. Chou & Wee (2022). A Study on the Viewing Behavior of Malaysian Chinese. Watching Taiwan Tzu Chi Da Ai TV. Intercultural Communication Studies, 31(1), 72-89. |
| 第 15 週 | 期末project撰寫/製作(不上課) |
| 第 16 週 | 期末project報告 *6/2 23:59前將作品上傳e3。 |
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
- 聯絡方式
- shuang9917@nycu.edu.tw 分機58714