Floating Lives: The Media and Asian Diasporas (Critical Media Studies: Institutions, Politics, and Culture)
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Floating Lives is a unique examination of media and communication within diasporic ethnic communities, using in-depth studies of some of Australia's main Asian diasporic groups: the Chinese, Indian, Vietnamese, and Thai communities. Going beyond conventional cross-cultural studies of mainstream media consumption, this book explores the ethnic community as a determining force in negotiating new hybrid identities and cultures―and demonstrates experiences common to diasporic communities worldwide.
Notwithstanding the limited scope of their ideological blinkers, these writers provided a positive way of conceptualising minority status and of exposure to difference as the mediation of knowledge of a world beyond. However, in more recent times, the notion of cosmopolitanism has become rather fraught, to the extent that it has become associated with the worldview of privileged castes in the West (Hannerz, 1990; Robbins, 1992). Against this tendency, several writers have sought to rework it—for
Crisis, Minneapolis: University of Minnesota Press, pp. 50–76. Srikandath, Sivaram (1993), Ethnicity and Cultural Identity in the Diasporas and Opportunities for Niche Media Marketing: An Audience Analysis of the Jains of North America, PhD thesis, Ohio University. Srinivas, S.V. (1996), “Devotion and Defiance in Fan Activity”, Journal of Arts and Ideas, no. 29. Stevenson, Deborah (2000), Art and Organisation: Making Australian Cultural Policy, Brisbane: University of Quensland Press.
hesitation Song giua an va oan, muon hat len doi lan Living between gratitude and resentment, wanting to sing up a few times. 2 Chinese Cosmopolitanism and Media Use John Sinclair, Audrey Yue, Gay Hawkins, Kee Pookong and Josephine Fox The patterns of Chinese migration represent one of the world’s most impressive and complex cases of the phenomenon of diaspora. At least in the sense of forming a potential television audience on a global scale, we can think of the worldwide diasporic
television services attest to the formation of transnational networks of media circulation and (re)production between “home” and “host” sites, the technological means for cultural maintenance and negotiation. In this context, new services such as New World TV, an Australian Chinese-language subscription television channel, can be regarded as a form of specifically diasporic television because the “global Chinese” of Melbourne and Sydney are targeted as the sole audience for this kind of
and personal success. Most of them are predictable and indefinitely iterable. The difference between Thai serial dramas is more about setting and the performers rather than the plot. Popular Thai dramas during the years of the economic boom (from about 1988 to 1996) competed for ratings by featuring many grandiose houses, luxurious cars and romantic, foreign settings. One 1994 series was shot in Sydney, with the dialogue taking place entirely in Thai between the all-Thai cast. Yet this common