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.Today there are six such giants that control vast empires broader inreach and deeper in influence than that of the British Empire, upon which, itwas said in the late nineteenth century, the sun never set.A resident in one partof what was then that empire, Rupert Murdoch, born in Australia but now anAmerican citizen, remarked of his News Corporation in his 1999 annual report; Virtually every moment of the day, in every time zone in the planet, people arewatching, reading and interacting with our product (Murdoch 1999: 13).In 2002 these giants were AOL Time Warner, the Walt Disney Company,Bertelsmann AG, Viacom, News Corporation and Vivendi Universal.Three areAmerican-based, one is German, another French and the last Australian(Murdoch s News Corporation still has its headquarters in Australia).To list thebusiness assets of any one of these would require counting on all fingers and toesof a family of five at least.Magazines, publishing houses, newspapers, themeparks, radio and television stations, movie theaters and sports teams are all partof the various empires.The least valuable merger in terms of annual revenue isBertelsmann with $13.5 billion, and the most valuable is Viacom with $90billion.However, in 2003 financial downturns and corporate over-extensioncaused significant changes.Time Warner reverted to its earlier name because ofthe poor performance of AOL.The French conglomerate is now Vivendi again,having sold its Universal media interests to NBC which, in turn, is part ofGeneral Electric Corporation.Nothing today seems more amoeba-like inchanging structure than these vast organizations.The term cultural imperialism has been used by opponents of the corporateconvergences that override national interests and divergent culture areas.Eventoday, a half century since it was first aired, the I Love Lucy situation comedy 142 A History of Popular Cultureseries is seen in over forty countries.It has been said that in its high momentsof success, the drama series Dallas was viewed by both the British and Spanishroyal families, some measure of the show s widespread appeal, on a vertical aswell as a horizontal basis.The cost of such a production is prohibitive for mostnations, an obvious reason for the success of American exports.Moreover, thesituation of most sit-coms and dramas is nearly universal in its effect, morecommonplace than unusual among the urbanized populations of today.Dubbingor use of subtitles allows such shows to segue into other cultural environmentswith little difficulty.The question remains, however, whether this is good or bad,a means to further entertainment and extended appreciation of the humancomedy or to greater profits and deeper penetration of Western culture,American in particular.As Mme Trautman has argued, cultural products areunlike other forms of merchandise.Language diversity and popular cultureIn an interestingly titled paper on the continuing disappearance of languages, Endangered languages: the crumbling of the linguistic ecosystem, ProfessorOsahito Miyaoka remarked that the effort to save the famous Japanese crane oribis from extinction was widely reported in Japanese newspapers but thedisappearance of the Sakhalin dialect of the Ainu language in 1994 wentunnoticed (Miyaoka 2003: 1).Quoting from another source, he indicates that,of the roughly 6,000 languages in the world today, fewer than half will survivethe twenty-first century.As is obvious, the development of modern media andtheir combined boundlessness and intrusiveness mean that once sheltered andself-sufficient linguistic communities of small scale have become an anomaly.Moreover, the global trend in book publishing is toward consolidation inmultimedia conglomerates, so that smaller national publishers in countries likeScotland and the Netherlands face extinction, absorption or the dreadful expenseof publishing books for a very small readership.Few large publishers, for instance,negotiate to publishing rights in Dutch as most citizens of the Netherlands readEnglish.Two other current indications of this linguistic state of affairs are, first,the instruction booklet for any electronic device in which English, French,Spanish and Japanese are the usual languages provided; and, second, thedisplacement of French by English as the day-to-day language of bureaucrats inthe European Union.American dominanceToday, according to a United Nations report, 85 per cent of the films shownworldwide are American.Wal-Mart is today the number one corporation interms of both sales and profit in the world.Cyberenglish is the most significantform of communication in that medium.And in 1951 the InternationalCommercial Aviation Institute accepted English as the language for allinternational flights.In facts such as these are rooted both the admiration and Unintended outcomes 143resentment found world-wide of American economic dominance in thecommunications industries.In his book America, Jean Baudrillard wrote that theUnited States was the original version of modernity. Europe he called thedubbed or subtitled version (Baudrillard 1988: 76).That remains the conditionand the problem. ConclusionReconditioning the human conditionOn a grander scale on the level of the human condition critics are expressingconcern over the changing perception and organization of reality.Landscape, ithas been said, is an act of human mediation with nature.It is the outward lookand the presence of the viewer that determine perspective, one s angle on whatis outside, beyond us.Previously, we reached into and organized what was atarm s length or at the distance of a stride.We determined our place from withinour home, our shelter.From its windows, through its doors, we entered thenatural world.The French philosopher Paul Bachelard phrased it nicely in hisbook The Poetics of Space (1958) with his chapter title, The house and theuniverse. Today this condition has been altered.The shelter has given way to the screen [ Pobierz całość w formacie PDF ]
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.Today there are six such giants that control vast empires broader inreach and deeper in influence than that of the British Empire, upon which, itwas said in the late nineteenth century, the sun never set.A resident in one partof what was then that empire, Rupert Murdoch, born in Australia but now anAmerican citizen, remarked of his News Corporation in his 1999 annual report; Virtually every moment of the day, in every time zone in the planet, people arewatching, reading and interacting with our product (Murdoch 1999: 13).In 2002 these giants were AOL Time Warner, the Walt Disney Company,Bertelsmann AG, Viacom, News Corporation and Vivendi Universal.Three areAmerican-based, one is German, another French and the last Australian(Murdoch s News Corporation still has its headquarters in Australia).To list thebusiness assets of any one of these would require counting on all fingers and toesof a family of five at least.Magazines, publishing houses, newspapers, themeparks, radio and television stations, movie theaters and sports teams are all partof the various empires.The least valuable merger in terms of annual revenue isBertelsmann with $13.5 billion, and the most valuable is Viacom with $90billion.However, in 2003 financial downturns and corporate over-extensioncaused significant changes.Time Warner reverted to its earlier name because ofthe poor performance of AOL.The French conglomerate is now Vivendi again,having sold its Universal media interests to NBC which, in turn, is part ofGeneral Electric Corporation.Nothing today seems more amoeba-like inchanging structure than these vast organizations.The term cultural imperialism has been used by opponents of the corporateconvergences that override national interests and divergent culture areas.Eventoday, a half century since it was first aired, the I Love Lucy situation comedy 142 A History of Popular Cultureseries is seen in over forty countries.It has been said that in its high momentsof success, the drama series Dallas was viewed by both the British and Spanishroyal families, some measure of the show s widespread appeal, on a vertical aswell as a horizontal basis.The cost of such a production is prohibitive for mostnations, an obvious reason for the success of American exports.Moreover, thesituation of most sit-coms and dramas is nearly universal in its effect, morecommonplace than unusual among the urbanized populations of today.Dubbingor use of subtitles allows such shows to segue into other cultural environmentswith little difficulty.The question remains, however, whether this is good or bad,a means to further entertainment and extended appreciation of the humancomedy or to greater profits and deeper penetration of Western culture,American in particular.As Mme Trautman has argued, cultural products areunlike other forms of merchandise.Language diversity and popular cultureIn an interestingly titled paper on the continuing disappearance of languages, Endangered languages: the crumbling of the linguistic ecosystem, ProfessorOsahito Miyaoka remarked that the effort to save the famous Japanese crane oribis from extinction was widely reported in Japanese newspapers but thedisappearance of the Sakhalin dialect of the Ainu language in 1994 wentunnoticed (Miyaoka 2003: 1).Quoting from another source, he indicates that,of the roughly 6,000 languages in the world today, fewer than half will survivethe twenty-first century.As is obvious, the development of modern media andtheir combined boundlessness and intrusiveness mean that once sheltered andself-sufficient linguistic communities of small scale have become an anomaly.Moreover, the global trend in book publishing is toward consolidation inmultimedia conglomerates, so that smaller national publishers in countries likeScotland and the Netherlands face extinction, absorption or the dreadful expenseof publishing books for a very small readership.Few large publishers, for instance,negotiate to publishing rights in Dutch as most citizens of the Netherlands readEnglish.Two other current indications of this linguistic state of affairs are, first,the instruction booklet for any electronic device in which English, French,Spanish and Japanese are the usual languages provided; and, second, thedisplacement of French by English as the day-to-day language of bureaucrats inthe European Union.American dominanceToday, according to a United Nations report, 85 per cent of the films shownworldwide are American.Wal-Mart is today the number one corporation interms of both sales and profit in the world.Cyberenglish is the most significantform of communication in that medium.And in 1951 the InternationalCommercial Aviation Institute accepted English as the language for allinternational flights.In facts such as these are rooted both the admiration and Unintended outcomes 143resentment found world-wide of American economic dominance in thecommunications industries.In his book America, Jean Baudrillard wrote that theUnited States was the original version of modernity. Europe he called thedubbed or subtitled version (Baudrillard 1988: 76).That remains the conditionand the problem. ConclusionReconditioning the human conditionOn a grander scale on the level of the human condition critics are expressingconcern over the changing perception and organization of reality.Landscape, ithas been said, is an act of human mediation with nature.It is the outward lookand the presence of the viewer that determine perspective, one s angle on whatis outside, beyond us.Previously, we reached into and organized what was atarm s length or at the distance of a stride.We determined our place from withinour home, our shelter.From its windows, through its doors, we entered thenatural world.The French philosopher Paul Bachelard phrased it nicely in hisbook The Poetics of Space (1958) with his chapter title, The house and theuniverse. Today this condition has been altered.The shelter has given way to the screen [ Pobierz całość w formacie PDF ]