Response
Institution Affiliation
Submission date
Question 1
Televisions, films, and movies are more than just merry forms of entertainment; in the current generation with increasingly complex technologies, people spend most of their time watching televisions, using their mobile phones and laptops from dawn till late in the night. Moreover, people develop personalities from the information they watch and absorb from the movies and films they watch, the content they hear, see and listen to from all these media stations. Anamalik Saha advocates for representing racial and ethnic minorities in the film, TV, and music industries. He researched critical media studies and postcolonial studies and revealed how political-economic forces affect cultural production and how the media is racially biased. He strongly advocated that the media should act independently of the media policies to be inclusive in representation. So both studies have a similarity in advocating for diversity in the media industry.
The researcher has significantly contributed to showcasing the capitalist framework of minority and diasporic cultural production (mainly). Postcolonial criticism is the dominant paradigm in the critical analysis of diasporic culture, as they frequently exist outside of (commercialization). In addition, they provide conceptual complexity in emphasizing the role of idealism in the production of familiar cultural texts involving people of color. The issue is that this radical cultural studies approach is frequently marked by a lack of empirical engagement, contributing to an unduly pessimistic tone. The relationship between business and black ethnic innovation is examined in the study of race, ethnicity, and cultural production. He explores the cultural-political processes involved when racialized minorities’ expressive cultures are converted into commodities that can be purchased and sold. Saha is primarily concerned with the moments when racialized minority’ forms of cultural creation are appropriated or taken by dominant groups, altering the meaning of specific sounds and pictures in the process. It is seen as part of an ideological process that labels nonwhites as inferiors.
The most remarkable instances may be found in popular music. The majority of them stem from the unusual fact that the musical styles most loved by enslaved and persecuted African-Americans became the foundation for the world’s most commercially famous and influential music (Griffin, 2014). Either music affiliated with races and ethnicities and ethnic groups outside the global core is dismissed elsewhere, or it is packaged and marketed in ways that draw on dubious stereotypes in a well-meaning worldwide attempt to gain status and recognition for them. Pessimistic view of media texts and their production. It is perhaps unsurprising, given that experts in this field frequently oppose what they perceive to be an overvaluation of ethinized cultural commodities in certain types of cultural studies. However, the commercial artistic output is commonly associated with aesthetic deprivation or ideological dominance in public debate and academic research. It has likely contributed to many minority cultural creations being overlooked or dismissed.
Both studies challenge the assumption in policy and race media studies that increasing the minorities working in media stations will lead to more diverse content being advertised in radio and TV stations and films. The advocates on the need to create new audiences by bringing marginalized audiences. The representation of the black in film and television stations is very scarce. There has been a steady increase in the diversity in the media industry, but the process has taken a long time, and it has been slow. There is a need to have a social culture that includes the black, women, class, sexuality, and recognizing everyone as entirely human. Unfortunately, inequality still exists in the on-screen talent and is deeply rooted across the film and TV ecosystem, including the studios, networks, production and streaming companies, and distributors.
If persistent racial inequalities are addressed, the industry can profit $10 billion as annual revenues; there is a need to increase the number of black-led stories and fund them effi0ciently. The creative blacks are the ones who provide opportunities for other blacks; otherwise, they are largely shut out of those critical roles. Junior black actors receive fewer chances to mark a leading role in the industry than their counterparts, and this needs to be resolved. There is also little representation of the minority in top management and the boards, which also needs to be addressed. It answers Anamalik Saha’s question in part III of the book, where he asks, “how do cultural industries make race during production process?”
The issue of racial inequality in the US needs to be addressed so as not to constrain the economy; however, it will be very complex to achieve this because of the unique character of the film and TV industry. In both Mckinsey and Saha’s reports, they agree that black people are not well represented in the film and TV industry. The challenges faced by black people in the media industry are of many types: financial, racial, and social barriers. For example, few black-led stories are aired on TV and radio stations, leading to biased media reporting. The projects receive less funding and are quicker to be shelved due to cultural policies discussed in detail by Anamalik. The financial challenge black professionals face in the industry is that it takes years of low income or, at times, unpaid work to break into the industry. To secure a job, it will have to depend on the person you know to assist you in performing in the industry.
Black artists face another problem of pigeonholing. The platform is designed to gather for the white talents and facilitate this; the black skills are subjected to a black tax where one has to pay out of pocket for services such as good hair, makeup, and lighting to resemble their counterparts and compete effectively in the industry (Hawkins, 2017).
The impact of increasing diversity in the media is to open up new opportunities due to the creation of varied roles, creating room for non-whites in the acting sector. In addition, it helps eliminate stereotypes, which are detrimental to the individuals and limiting to the society, and a more exciting and enjoyable role for every actor and therefore a safe space for every member of the community. Other challanges include less talent recognition from the society through awards, critical reporting, and festivals, which helps negotiate better deals. There is also the lack of racial diversity, which helps create better deals for black professionals. There is also a belief that black films do not travel, which needs to be discouraged from making progress in the industry.
Black producers also lack the networks to access sponsorships to build their teams and access adequate funding. To solve this, we should ensure diverse representation among off-screen talents and executives by recruiting blacks to state schools and HBCUs and providing mentorship and sponsorship programs. The state should also increase transparency and accountability through frequent and public intersectional reporting and growing funding to increase diverse content and talent to support a variety of black stories. For example, the two research articles show that films with black-off screen talent have smaller budgets despite higher earnings per budget. There is also a need to create an independent organization that will advocate for racial equality, implements the best practices and reports after tracking the progress across the industry.
The impact of having a diverse representation is that it opens up new and better opportunities, for instance, when specific acting opportunities are assigned to non-white actors. Varied roles will be created in the inclusivity process, thus opening new doors for more exciting and enjoyable roles for all actors, thus creating a safer space for every community.
QUESTION 3
Introduction
The marketing of PRC is surging higher in the worldwide services offered by the media, and it has brought significant concerns to Hollywood. There is a high demand for the advancement of the market by the Hollywood media industry and China’s urge for soft power over the globe, contributing much towards the expansion of the Sino-US industries. With the increasing association between China and Hollywood, the industry has realized an essence played by policies in the joint production media. The involvement of the Chinese partners with Hollywood media production in the development of the blockbusters has widened the Chinese production media over the globe and extended the Chinese yearning for soft power. In the following paragraphs, I will expound on the advancement of the Sino-US joint production on the PRC policies, financial and technological improvement on the display of Wolf Warrior 2.
The need for soft power in china has a historical heritage in the Chinese policy of the media. The significance of soft power has numerous arguments based on the policy circles from the political scholars, including Joseph article in 1990. However, the main primary idea is understanding how the Chinese policymakers grew the media. Chinese has a deep-rooted to affirmed expand their soft power at all costs. The Chinese policymakers consider soft power as “cultural security.”In the premier in 2014, Li Keqiang promoted the creation of the culturally diverse sector and presented his report of the work of the government at the twelfth congress. He detailed that they enhanced the sound design of the cultural industries; hereby, several high-standard artistic creations were developed, and publication was promoted by opening the cultural institution over the public free to all benefits. There was a reformation on the management scheme of the cultural security and foundational development of the cultural sector. In addition, the Chinese researchers debate that the policy on cultural practices has resulted in the remodification of the states’ worldwide communication (Keane, 2007). The highly ranked profile has its epicenter on Chinas development over the world.
Soft power is a characteristic of China’s free policy at a peak level. According to research, there are many techniques employed by Chinese media production to promote soft power. President Xi Jingpin commented on the article whereby he motivated the people of Politburos to expand the cultural software of the nation; because of more effort towards building international capacity prod cast by embracing the foreign discourse communities (Keane, 2006). Additionally, he highlighted that there should be bridging of the media activities b various global media industries to boost the cultural diversity power. Likewise, he encouraged the evolving media practice by increasing the creative power, motivating and making them responsible for the discourse community of the foreigners. They were supposed to have a deep knowledge o Chinese stories features and their voices. Xi empowerment is the source of Chinese voice above the Chinese communist with an external foreign link towards the widening of the international association with the discourse yielding positive results n the media industry due to the realization of the dream Chinese had.
Having similar goals to Hollywood and China’s media industry, the industry thought of a union to help them realize their potential. The Peoples Republic of China (RPC), combined with the World Trade Organization in 2001, agreed to open a media market with smooth trade running over the countries. However, the opening of the PRC created tension between the US and China, such that the US submitted a complaint to WTO that they were not following their motives. The complaint was that it was committing to opening its audiovisual market, written in the WTO sequence presented on the GATT. The US won the dispute, but it took three years to be taken into action. This came to formulating a new memorandum of understanding in 2012 between the Peoples Republic of China and the US associated with their films for theoretical release- the US china film agreement. The agreement stated that china had many increased taxes imposed on the film industry.
The film policy was amended in 2017 with negotiations having an extended-lasting policy on the influence of Hollywood on China. China had not completed the implementation of MOU on their submissive terms. The United States explained to them that the film that China produced after implementing MOU could yield more quarter slots. The agreement was sealed between the two countries and led to the production of the Wolf Warrior II. China film import regulation from the state policies in the media to increase Sino-US- media collaborations. The government production policy permitted films that traded Chinese talents and finance. Also, as locally produced films to distribute the country’s import quota, the quota on films imported restricted access to the market valued at USD 6.8 billion in 2015. PRC production policy permitted firms to apply for recommendations at the preproduction stage, not post-production. Hollywood producers had strong market incentives that followed the Chinese co-production policy to allow access to the market. However, the coproduction services on the US companies (Hollywood) were essential for the PRC’s entry into the market, and the film industries recommended its distributions.
All the films produced with the Sino- US coproduction policy were known to have complexities for allocation by the PRC. Therefore, the coproduction policy was amended and made it easier for Hollywood and PRC expertise to create local and international films(Jin, et al., 2007). Furthermore, market their brand on information services. The role of China in the production of films created more publicity in their film and more shoots in Beijing, leading to the production of Wolf Warrior two that gained more viewers over the globe, surpassing the avengers. It is traded the Chinese local productions shots in Beijing and became a sport that encouraged more shooting of films such as the iron man III. ThisThis created a historical change towards the global trade policies that enabled the production of Sino-US-block busters and paved the way for the advertisement of Wolf Warrior II. World Warrior became a success because of the soft power that the Chinese had, with over US $ 874 million accumulated. The film advanced and made the china film industry more famous and earned a public record.
References
Griffin, R. A. (2014). Push ing into precious: Black women, media representation, and the glare of the White supremacist capitalist patriarchal gaze. Critical Studies in Media Communication, 31(3), 182-197.
Hawkins, B. (2017). The dominant images of black men in America: The representation of OJ Simpson. In contemporary themes: African Americans in Sport (pp. 39-52). Routledge.
Jin, B., Suttmeier, R. P., Zhang, W., Cao, C., Wang, D., & Zhou, Q. J. (2007). Sino-US science collaboration: an analysis in bibliometrics. JOURNAL-SHANXI UNIVERSITY NATURAL SCIENCE EDITION, 30(2), 295.
Keane, M. (2006). From made in China to created in China. INTERNATIONAL journal of CULTURAL studies, 9(3), 285-296
Keane, M. (2007). Created in China: The great new leap forward. Routledge.
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