MDA10008

GLOBAL MEDIA INDUSTRIES

Lecturer: Uyen Do
Student: Khanh Linh Huynh
Student ID: 104993667
Semester 3, Year 2024
Word count: 907 (excluding reference)

CRITICAL THINKING
CRITICAL THINKING
CRITICAL THINKING
How Globalization and Cultural Representation Affect My Media
Consumption?

In today's interconnected world, media consumption is significantly

influenced by globalization and cultural representation. Under the topic
of globalization, this essay is my tackle into my engagement with media
platforms, particularly one “GenZ” platform like TikTok, which reflects
these dynamics. By diving deeper into the origins of the media I
consume, the cultural values they offer, and the multiplicity of their
production sources, I will illustrate how my worldview is shaped and
how accurately my culture is represented in the light of this platform.

The Origins of My Media Engagement

The media content I consume originates from an array of sources

worldwide, thanks to the pervasive nature of globalization. Platforms,
such as TikTok provide access to a diversity of cultural expressions and
perspectives. For instance, I regularly encounter content from creators
in the United States, South Korea, and China, reflecting the platform's
global reach. According to Deuze (2007), the digital age has dissolved
traditional boundaries, allowing media to transcend national borders
and cultural limits. This exposure to international content enriches my
understanding of global cultures and trends, growing one with a new
term of “global citizens”.

Cultural Values Displayed in My Favorite Media Forms

The cultural values embedded in the media I engage with on TikTok are
diverse and multifaceted, often reflecting the creators' backgrounds
and the globalized nature of the platform. For example, dance
challenges originating from African-American communities highlight
values of creativity and community spirit. Meanwhile, South Korean
beauty trends emphasize aesthetics, innovation, and meticulous self-
care, influenced by the cultural importance of appearance in South
Korean society (Jin, 2018).
These values are not only representative of their places of origin but also
resonate with broader global audiences, illustrating how cultural
representation in media can bridge different societies. Anderson (1991)
argues that media can create "imagined communities," where
individuals feel connected through shared media experiences, despite
geographical and cultural differences.

The Multiplicity of Media Production Sources

The media content I consume is often a product of multiple places,

demonstrating the interconnectedness of global media production.
TikTok (or Douyin), for example, operates on a platform developed in
China, owned by ByteDance, and used globally. Content trends on
TikTok often start in one part of the world and quickly spread, being
adapted and reinterpreted by users worldwide. This dynamic is a clear
example of Appadurai's (1996) concept of "global cultural flows," where
media, people, and ideas constantly move and intermingle across
borders.

A few pertinent examples are the "Renegade" dance, which originated

from a young African-American creator, and recently the “Osaka” make-
up transformation trend originated in India. These trends have become
a global phenomenon, with variations performed by users in different
countries. This not only showcases the viral nature of digital media but
also how a single piece of content can be infused with multiple cultural
influences as it spreads.

Shaping My Worldview Through Media Consumption

My view of the world is significantly shaped by the diverse media

content I consume. The exposure to various cultural narratives and
practices broadens my perspective and fosters a more inclusive and
empathetic outlook. For instance, consuming media from LGBTQ+
creators worldwide has enhanced my understanding and support of
diverse sexual orientations and gender identities. This aligns with the
findings of Flew (2018), who asserts that globalization fosters a more
cosmopolitan and culturally aware society through media.
Moreover, the representation of global issues, such as climate change
activism led by young influencers on social media, informs my
understanding of and engagement with these critical topics. Media not
only entertains but also educates, shaping public discourse and
personal beliefs. Understanding the widespread influence of media, in
general, helps in building an ideal and appropriate approach toward
future generations.

Cultural Representation and Its Accuracy

Regarding the depiction of my own culture, media representations can

be a double-edged sword. On one hand, I appreciate the global visibility
of my culture through media platforms, which often highlight its
unique aspects, such as cuisine, festivals, and traditional practices. For
example, under the lens of international users, Vietnam is a beautiful
country with a rich historical background. Tourists come to our country
after watching reviews about the sights, the food, the captivating
stories, and the hospitable people of Vietnam. However, these
representations are sometimes oversimplified or stereotypical. A shred
of clear evidence is how a small number of foreigners make content on
stereotyping Asians, or Vietnamese in specific as toxic and
undereducated. This type of context on Tiktok purposefully shows an
unpleasant biased view of our culture, a disrespectful action covered by
an excuse of “personal experiences” for the sake of exposure and
entertainment purposes.
This is consistent with the critiques of media scholars like Hall (1997),
who argue that media representations can perpetuate stereotypes and
reinforce power imbalances. Therefore, while media globalization
provides a platform for cultural exchange, it also necessitates a critical
examination of how cultures are portrayed and perceived.

Conclusion

In conclusion, my media consumption is profoundly influenced by

globalization and cultural representation. Social media platforms like
TikTok illustrate the global origins of the media I engage with, the
diverse cultural values they display, and the multiplicity of their
production sources. This media landscape shapes my worldview,
offering a more inclusive perspective while also posing challenges
related to the accurate depiction of my culture. By critically engaging
with these media forms, I can better navigate the complexities of
globalization and cultural representation in the digital age.
References

Anderson, B. (1991). Imagined Communities: Reflections on the Origin

and Spread of Nationalism. Verso.

Appadurai, A. (1996). Modernity at Large: Cultural Dimensions of

Globalization. University of Minnesota Press.

Deuze, M. (2007). Media Work. Polity.

Flew, T. (2018). Understanding Global Media. Palgrave Macmillan.

Jin, D. Y. (2018). Smartland Korea: Mobile Communication, Culture, and

Society. University of Michigan Press.

Cotter, K. (2019). Playing the visibility game: How digital influencers and
algorithms negotiate influence on Instagram. New Media & Society,
21(4), 895-913. https://doi.org/10.1177/1461444818815684

Hall, S. (1997). The work of representation. In S. Hall (Ed.), Representation:

Cultural representations and signifying practices (pp. 13-74). London:
Sage.

Jenkins, H. (2006). Convergence culture: Where old and new media

collide. New York: New York University Press.

Jin, D. Y. (2021). Transnational Korean Television: Cultural Storytelling

and Digital Audiences. Amherst: University of Massachusetts Press.

Said, E. W. (1978). Orientalism. New York: Pantheon Books.

Xu, M., Park, J., & Park, H. W. (2020). Longitudinal dynamics of global
social media diffusion: The perspective of two billion users. Social
Science Computer Review, 38(6), 684-701.
https://doi.org/10.1177/0894439319875801