Episode 2 - Television as the New Coloniser
Anuja Pradhan and Alev Kuruoglu look at TV as a cultural force that shapes and drives consumption. Media like TV inflicts the ways in which consumers see the world.In this episode, we are joined by researcher Cagri Yalkin and students Alexandra Torpen and Fabian Frost. Producer: Karsten Prinds.REFERENCESOur guest Cagri’s work on TV and Turkish soap operas:Yalkin, C. (2019). TV series: marketplace icon. Consumption Markets & Culture, 1-8.Yalkin, C., & Veer, E. (2018). Taboo on TV: gender, religion, and sexual taboos in transnationally marketed Turkish soap operas. Journal of marketing management, 34(13-14), 1149-1171.Yalkin, C. (2018). A brand culture approach to managing nation‐brands. European Management Review, 15(1), 137-149.How Dallas changed the world: Alasuutari, P. (1992). I'm ashamed to admit it but I have watched Dallas': the moral hierarchy of television programmes. Media, Culture & Society, 14(4), 561-582.Ang, I. (1985). Watching Dallas: Soap opera and the melodramatic imagination. Psychology Press.Fiske, J. (2004). Reading television. Routledge.Katz, Elihu, and Tamar Liebes. "Interacting with" Dallas": Cross cultural readings of American TV." Departmental Papers (ASC) (1990): 159.Hirschman, E. C. (1988). The ideology of consumption: A structural-syntactical analysis of “Dallas” and “Dynasty”. Journal of Consumer Research, 15(3), 344-359.TV shaping home & family life:Chitakunye, P., & Maclaran, P. (2014). Materiality and family consumption: the role of the television in changing mealtime rituals. Consumption Markets & Culture, 17(1), 50-70.Clarke, A. (2001). The aesthetics of social aspiration. in Home possessions ed. Daniel Miller, 23-45. Oxford & NY: BergLocal TVs / TV Localities:Akınerdem, F. (2020). Women’s Fragile Trust: Safety, Familiarity, and Secrecy in the Marriage Show. In Television in Turkey (pp. 103-123). Palgrave Macmillan, Cham.Creeber, G. (2015). Killing us softly: Investigating the aesthetics, philosophy and influence of Nordic Noir television. The Journal of Popular Television, 3(1), 21-35.Kuipers, G. (2006). Television and taste hierarchy: The case of Dutch television comedy. Media, Culture & Society, 28(3), 359-378.Rajgopal, A. (1993) The rise of national programming: The case of Indian television. Media, Culture & Society. 15 (1). 91-111.Xu, J. H. (2007). Brand-new lifestyle: consumer-oriented programmes on Chinese television. Media, Culture & Society, 29(3), 363-376.Transnational TV consumption:Andersen, L. P., Kjeldgaard, D., & Nielsen, S. B. (2019). Utopian Noir: Borgen viewed in Denmark and the UK. In The Scandinavian Invasion: The Nordic Noir Phenomenon and Beyond. Peter Lang International Academic Publishers.Creeber, G. (2015). Killing us softly: Investigating the aesthetics, philosophy and influence of Nordic Noir television. The Journal of Popular Television, 3(1), 21-35.Hamzah, A., & Syed, M. A. M. (2013). Imagining Modernity in Contemporary Malaysia: Non-Western Soap Opera and the Negative Urban Morality. In Popular Culture in Asia (pp. 142-162). Palgrave Macmillan, London.Iwabuchi, K. (2004). Feeling Asian modernities: Transnational consumption of Japanese TV dramas (Vol. 1). Hong Kong University Press.Povlsen, K. K. (1996). Global teen soaps go local: Beverly Hills 90210 in Denmark. Young, 4(4), 3-20.Fandom:Chaturvedi, R., Singh, H. & Singh, A. (2021) Hero and Hero – Worship: Fandom in Modern India. Vernon Press: USA.Costello, V., & Moore, B. (2007). Cultural outlaws: An examination of audience activity and online television fandom. Television & New Media, 8(2), 124-143.Gray, J., Sandvoss, C., & Harrington, C. L. (Eds.). (2017). Fandom: Identities and communities in a mediated world. NYU Press.Jenkins, H. (2012). Textual poachers: Television...