Identify the ‘giant’ transnational corporations of the global creative economy. To what extent do they dominate this economy?

Answer one question only(choose one topic you are good at). And please use the reading list as followings as much as possible, you also can find some others sources, at least 16 sources.
1, What is cultural imperialism? Is it still an appropriate way of conceptualising the global flow of cultural products?

Cultural Imperialism
• Flew, T. (2013) Global Creative Industries. Cambridge: Polity. Chp 3
• Mirrlees, T. (2013) Global Entertainment Media. London:Routledge. Chp1
• Sparks, C. (2007) Globalization, Development and the Mass Media. London: Sage. Chps 5 & 6.
Cultural globalization
• Kawashima, N. (2011) Are the global media and entertainment conglomerates having an impact on cultural diversity? A critical assessment of the argument in the case of the film industry, International Journal of Cultural Policy, 17:5, 475-489
• Tomlinson, J. (1997) ‘Cultural Globalization and Cultural Imperialism’, in Mohammadi, A. (Ed.) International Communication and Globalization London: Sage.
• Sinclair, J. et al. (1997). Peripheral Vision, In New Patterns of Global Television. Oxford: Oxford University Press. Chp 1.
• Straubhaar, J. D. (2008) World Television. London: Sage. Various chapters
• Thussu, D K. (2006) (Ed) Media on the Move: Global Flow and Contra-Flow. London: Routledge. see various chps

2, Identify the ‘giant’ transnational corporations of the global creative economy. To what extent do they dominate this economy?

Corporate dominance
• Jin, Dal Yong (2008) Neoliberal restructuring of the global communication system: mergers and acquisitions Media, Culture and Society, 30(3): 357–373
• Chalaby, J.K. (2011) “The making of an entertainment revolution: How the TV format trade became a global industry.” European Journal of Communication, 26(4) 293–309.
• Hardy, J. (2014) Critical political economy of the media an introduction. London: Routledge. Chp 4.
• McPhail T L. (2014, 4th Edition) Global Communication: Theories, Stakeholders and Trends, Oxford: Blackwell. Chp 7.
• Waisbord, S. (2004) “McTV. Understanding the global popularity of television formats.” Television & New Media 5(4): 359-383.
• Winseck, D (ed) (2012) The political economies of media the transformation of the global media industries. London: A&C Black. Chps 2 & 3.
• Mirrlees, T. (2013) Global Entertainment Media. London:Routledge. Chp 2

New powers
• McPhail T L. (2014, 4th Edition) Global Communication: Theories, Stakeholders and Trends, Oxford: Blackwell. Chp 14.
• Shim, D. (2006) Hybridity and the rise of Korean popular culture in Asia. Media, Culture and Society, 28(1): 25–44
• Kwon, S. & Kim, J. (2014) The cultural industry policies of the Korean government and the Korean Wave, International Journal of Cultural Policy, 20:4,422-439
• Rego, C M and La Patina A, (2007) Brazilian TV and Telenovellas. In Thussu, D K. (Ed) Media on the Move: Global Flow and Contra-Flow. London: Routledge.
• Miller, J (2012) Global Nollywood: The Nigerian movie industry and alternative global networks in production and distribution. Global Communications 8(2) 117–133
• Straubhaar, J. (2010) Chindia in the context of emerging cultural and media powers. Global Media and Communication, 6(3): 253–262
• Straubhaar, J. D. (2008) World Television. London: Sage. Various chapters

3, What is content piracy? What challenge does it pose for the corporate culture industries and how have they responded?

Copyright
• Lessig, L. (2004) Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. Penguin. Chp 1-3 (On module Learn page)
• McPhail T L. (2014, 4th Edition) Global Communication: Theories, Stakeholders and Trends, Oxford: Blackwell. Various chapters

Piracy
• Karaganis, J (2011) Media Piracy in Emerging Economies. SSRC. Chp 1.
• Boyle, R. (2015) Battle for control? Copyright, football and European media rights Media, Culture & Society, 1–17
• Currah, A. (2006) Hollywood versus the Internet: the media and entertainment industries in a digital and networked economy. J. Economic Geography, August 1, 2006; 6(4): 439 – 468.
• Mattelart, T. (2009) Audio-Visual Piracy: Towards a Study of the Underground Networks of Cultural Globalization. Global Media and Communication, 5 (3): 308-326.
• Yar, M (2006) The global ‘epidemic’ of movie ‘piracy’: crimewaveor social construction? Media, Culture and Society, 27(5): 677–696.
• E. Mickiewicz (2001) Piracy, Policy, and Russia’s Emerging Media Market The Harvard International Journal of Press/Politics, 6, 2, 30-51

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