Communications Question

Write a 2 page conclusion based on the Literature Review, Methodology, and Introduction. The conclusion needs to also discuss three concepts apart of the Lindolf Reading.

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The globalization of Chinese films throughout the media is the topic that I will be
analyzing. I’m interested in understanding China’s international collaborations, censorship
within their media, and cultural representation in global cinema. This project explores the
cultural dynamics in Chinese cinema and the relationship it has with globalization. Cultural
Imperialism, cultural histories, and hybrid cultural space are theories that shape globalization
within Chinese films. It is vital to understand the domination of one culture over others through
cultural forms while examining films published by Chinese media (Sorrells). Stereotypical views
and biases can occur while analyzing this type of media. Therefore, an understanding on the type
of media that is socially acceptable needs to be researched. Cultural histories are shared stories
and interpretations of cultural groups that are passed along in written or oral form from
generation to generation (Sorrells). Movies such as Mulan and Kung Fu Panda are children’s
films that use cultural histories of China to produce their film. This influences children at a
young age to grasp Chinese culture and how it’s celebrated amongst people. Hybrid cultural
spaces are the intersection of intercultural communication practices that construct meanings in,
through, and about particular places with the context of relations of power (Sorrells). These
cultural spaces can be defined through negotiation, resistance, and transformation. Moreover,
shaping the framework individuals use to examine different cultures in films that are seen
through Chinese cinemas.
“As China is becoming an important player on the world stage, Chinese literature is
poised to change and reshape the overlapping, shared cultural landscapes in the world” (Wang
2018). China’s New Cinema is a reference used by Wang and refers to the Chinese films from
the early reform era in the 1990s. “Globalization brought about the commercializa- tion of
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Chinese society, in which the directors witnessed the “imper- sonal modern society undermining
older families and clans, villages,‘organic’ forms,” and the logic of consumption “tears through
what is so often metaphorized as the fabric of daily life,” (Wang 2018). Chinese films became
modernized and focused on creating media that focus on other ideologies from western values.
This was a shift to the film industry because it capitalized on creating movies that don’t follow
the government agenda of pushing communism. According to the book The Film Industry as
Negotiation of Space ,“both China’s cultural policy and the debate about Hollywood can be
viewed as instances of resistance to the domination of global capital and American culture” (SU,
W 2016). The process confronts Chinese government and global Hollywood in negotiating films
and media that dominates this sector.
In conclusion, globalization of Chinese films explores the topics of international
collaborations, representations in culture, and censorship through the media. As well as
intertwining the impact of theories such as cultural histories, hybrid cultural space, and cultural
imperialism through global cinema. Disney is one example of how film companies hold control
over the media and information that people perceive. This highlights the multidimensional
relationship that globalization and Chinese films have. Ultimately, allowing film companies to
have power on the framework that individuals use to dissect cultural spaces in media.
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References
Sorrells, Kathryn. Intercultural Communication Globalization and Social Justice. SAGE
Publications, Inc, 2022.
SU, W. (2016). The Film Industry as Negotiation of Space. In China’s Encounter with Global
Hollywood: Cultural Policy and the Film Industry, 1994-2013 (pp. 75–104). University
Press of Kentucky.
Wang, Xiaoping. Ideology and Utopia in China’s New Wave Cinema: Globalization and Its
Chinese Discontents. Palgrave Macmillan, 2018.
I. Field Notes
Participant One: Lauren Heard
1.
Age? 35
2.
Ethnicity? African American and Chinese
3.
Gender? Female
4.
Language? English
5.
Where were you born? California
6.
What movies did you watch while growing up? Comedies, Disney Movies, Action films
like Rush Hour
7.
Did you watch movies that had cultural histories of China? If so, what movies and what
age? Mulan and 9 years old
8.
What is your perspective on the censorship in Chinese films? I think it’s on par with how
their society is set up.
9.
Do you think the censorship in Chinese films has changed in the past decade? Not sure but
there has been a lot more inclusion in American media pertaining to actors of Asian
descent.
10. What is your perspective on Hollywood having an impact on the films they create that show
Chinese culture? It tends to perpetuate stereotypes and may distort or give an
inaccurate depiction of Chinese culture but on the other hand if done right it can
educate ignorant people who are not familiar with Chinese culture. This can aid in
decreasing Asian hate.
11. Do you find that Hollywood has influenced the movies that are produced in China? Yes,
Hollywood has influenced the media world wide.
12. What is your perspective between the films in Hollywood and China that you have seen?
Films in Hollywood usually have an American influence.
13. What type of films do you find yourself connecting the most with? Romantic Comedies
14. Which Chinese film is notable in your household and how did it affect your family? Mulan.
It was a movie that we would watch over and over again. I have a fond memory of
seeing it in the theater. It is an inspiring representation of strength and resilience and
showcases how a woman can do whatever a man can.
15. While growing up was there a movie that depicted Chinese culture and gained popularity
within society? I can only think of Mulan and the Karate kid. Jackie Chan also comes
to mind so any movie he was in
Participant Two: Valerie Herrera
1. Age? 21 years old
2. Ethnicity? Hispanic
3. Gender? Female
4. Language? English
5. Where were you born? Los Angeles, California, USA
6. What movies did you watch while growing up? I watched movies like Mulan, Shrek, Kung
Fu Panda, and Thor.
7. Did you watch movies that had cultural histories of China? If so what movies and what age?
Growing up I lived in a household that was multiracial. My little cousins are Chinese
and would watch Ni Hao, Kai-Lan on Nickelodeon. I also watched Kung Fu Panda as
well as Mulan in my childhood. Mulan became one of my favorite disney movies as a
child. I recently watched the live action film based on the cartoon and noticed how
impactful those movies were for my childhood.
8. What is your perspective on the censorship in Chinese film? I believe that Chinese film
centers their censorship based on their political and societal perspectives.
9. Do you think the censorship in Chinese film has changed in the past decade? Yes, I feel there
has been some changes, however censorship in Chinese films as well as media remains
strict.
10. What is your perspective on Hollywood having an impact on the films they create that show
Chinese culture? Hollywood has impacted the way these films are created which
demonstrates Chinese culture. Kung Fu Panda is a great example because it highlights
Chinese culture and the history behind it. Allowing the film to really gain a strong
international audience between China and America.
11. Do you find that Hollywood has influenced the movies that are produced in China? Yes,
Hollywood has a major impact on the movies produced in China as well as the ones that
are shown. Many movies created in Hollywood are shown in China and become
successful in the box office such as Kung Fu Panda.
12. What is your perspective between the films in Hollywood and China that you have seen? I
find that Chinese films will focus more on their own culture and the affects from their
histories. While films produced in Hollywood show a diverse set of cultures which can
sometimes perpetuate into stereotypes.
13. What type of films do you find yourself connecting the most with? I connect most with
action movies.
14. Which Chinese film is notable in your household and how did it affect your family? Kung
Fu Panda is a movie that is notable in my household because my family would always
put this movie on for my cousins and I. It was always a comforting movie and
demonstrated the importance of teamwork, compassion, and dedication. My family
focuses on teaching us values through our culture. Although, I’m not Chinese I was
raised still within that culture and it has affected my childhood.
15. While growing up was there a movie that depicted Chinese culture and gained popular within
society? Mulan was the movie that depicted Chinese culture and gained popular within
society. My older cousins influenced me to watch the film starting at the age of three
years old.
Participant Three: Ariana Behtash
1.
Age? 20
2.
Ethnicity? Iranian American
3.
Gender? Female
4.
Language? English
5.
Where were you born? Las Vegas, Nevada
6.
What movies did you watch while growing up? Little mermaid , Freaky Friday ,
Spider-Man
7.
Did you watch movies that had cultural histories of China? If so what movies and what
age? kung fu panda , early childhood was when I first loved the film i was around 10 to 7
8.
What is your perspective on the censorship in Chinese film? That the Chinese culture
has lots of rules and traditions that are sacred.
9.
Do you think the censorship in Chinese film has changed in the past decade? In a way to
make it more modern yes but in the traditional standpoint no.
10. What is your perspective on Hollywood having an impact on the films they create that
show Chinese culture? I think Hollywood just focuses one the same core
understanding the Chinese culture, and doesn’t really go into full depth
11. Do you find that Hollywood has influenced the movies that are produced in China? I
think it’s the other way around
12. What is your perspective between the films in Hollywood and China that you have seen?
Chinese films are definitely more detailed oriented, dramatic and long comparison
to American films
13. What type of films do you find yourself connecting the most with? American films since
I enjoy comedy and Chinese films are more educational or action.
14. Which Chinese film is notable in your household and how did it affect your family?
Godzilla is the top one it didn’t have much of an effect on my family since it’s a
fictional movie
15. While growing up was there a movie that depicted Chinese culture and gained popular
within society? Definitely to children Kung Fu panda and Mulan we’re the first
movies that opened homes and kids to the Chinese culture.
II. Analysis on Field Notes
The questions I created for my interview guide relate to my thesis on exploring the
cultural dynamics in Chinese cinema and its relationship with globalization. From the
participants ‘ perspective, I wanted to understand how Hollywood has affected Chinese films.
This influenced me to develop questions that asked for their ideas on censorship, the
globalization of Western cultures, and the importance of themes such as cultural histories within
Chinese film. There was a few limitations in my study with the participants favoring more
Hollywood produced films that showed Chinese culture compared to films produced in China.
However, all participants shared similar results with the type of Chinese films they grew up with.
This included films such as Mulan and Kung Fu Panda that show themes of cultural histories,
cultural imperialism, and hybrid cultural space within the movie. Cultural histories are a part of
these films because it demonstrates the genre of Chinese War movies that has become the leading
forefront for Hollywood depicting Chinese culture. Themes of cultural imperialism and hybrid
cultural space are depicted in these movies as a common trend. The theme of cultural
imperialism is shown within Kung Fu Panda and Mulan because it focused on the fight between
one group that is more dominant within the community compared to another non-dominant
community of its own culture. Hybrid cultural space was demonstrated in both films because the
protagonists have to adapt to multiple cultural frameworks amongst their peers. Hollywood uses
these themes to create films depicting Chinese culture, however each of the participants believe
that the globalization of Western media can perpetuate stereotypes. This can cause people to not
clearly understand the relationship between fiction and the cultural histories behind Chinese
culture. Overall, displaying how China’s power in the international mass media of its culture is
controlled by Hollywood’s globalization in film.
III. Transcript for Participant Three
Age? 20
Ethnicity? Iranian American
Gender? Female
Language? English
Where were you born? Los Angeles, CA
What movies did you watch while growing up? The Little Mermaid, Freaky Friday, Spider-Man
Did you watch movies that had cultural histories of China? If so, what movies and at what age?
Kung Fu Panda was one, I first loved the film when I was around 7 to 9 years old.
What is your perspective on the censorship in Chinese film? I think the Chinese culture has lots
of rules and traditions that are considered sacred.
Do you think the censorship in Chinese film has changed in the past decade? In a way, to make it
more modern, yes, but from a traditional standpoint, no.
What is your perspective on Hollywood having an impact on the films they create that show
Chinese culture? I think Hollywood just focuses on the same core understanding of Chinese
culture and doesn’t really delve into full depth.
Do you find that Hollywood has influenced the movies that are produced in China? I think it’s
the other way around.
What is your perspective between the films in Hollywood and China that you have seen?
Chinese films are definitely more detail-oriented, dramatic, and longer compared to American
films.
What type of films do you find yourself connecting the most with? American films, since I enjoy
comedy, whereas Chinese films are more educational or action-oriented.
Which Chinese film is notable in your household, and how did it affect your family? Godzilla is
the top one, but it didn’t have much of an effect on my family since it’s a fictional movie.
While growing up, was there a movie that depicted Chinese culture and gained popularity within
society? Definitely, for children, Kung Fu Panda and Mulan were the first movies that introduced
Chinese culture to homes and kids.
CMST 4250: Capstone Project
Final Project Essay
Purpose:
The purpose of this project is to give you the experience of going through the process of creating
an academic essay. You have gone through several steps from researching your topic to
interviewing participants on your topic and now you will compile your research into one
cohesive narrative.
Assignment:
Your goal is to create a single essay from your previous four essays. You will compile previous
essays, add proper transitions, and create an introduction, two-page conclusion section. In the
conclusion section, you will provide your suggestions, insights, and/or proposal for addressing
the issue and improving the issues surrounding your topic. In your conclusion section, you must
also incorporate at least three key concepts you learned in this course relating to your topic.
The layout of your essay should be approximately as follows:
•
•
•
•
Introduction 1-2 pgs
Literature Review, 6-8 pgs
Method & Interviews, 6-8 pgs
Conclusion, 2+
You may use these headings for each section or give them an alternate title. Your completed
research paper will be a total 15+ pages (not including cover page and references page), APA
Citation,
Additionally, you must also combine all of your citations into your references pages.
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Introduction
The globalization of Chinese cinema has emerged as a crucial area of study within
film scholarship, reflecting the evolving landscape of the international film industry. This
literature review aims to explore the cultural dynamics of Chinese cinema in the context of
globalization, examining key scholarly works that shed light on the transformations,
challenges, and adaptations within the Chinese film landscape. The thesis underlying this
review posits that the global expansion of Chinese cinema reflects a complex interplay of
cultural, economic, and political factors that shape the industry.
Topic One: Censorship in Chinese Media
The exploration of censorship in Chinese media stands as a significant scholarly
pursuit, capturing the intricate interplay between state control, cultural expression, and global
influences. This literature review engages with key works that shed light on the mechanisms,
implications, and challenges of censorship in Chinese media.
i. State Strategies and Negotiations in Censorship
Su’s meticulous analysis of China’s strategic reactions to Hollywood’s impact
contributes valuable insights into state strategies and negotiations in censorship. By
examining the Chinese government’s efforts to balance cultural identity preservation with the
inclusion of international films, Su reveals the dynamic nature of censorship as a tool for
cultural negotiation and industrial adaptation (Su, 2016).
ii. Media Globalization and Censorship
Thussu examines China’s media expansion in Africa enriches the discourse by
exploring how CCTV Africa navigates between presenting China’s soft power and
maintaining journalistic integrity. This work highlights the role of censorship in shaping
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China’s global media influence and emphasizes the challenges associated with controlling
narratives in a globalized media landscape (Thussu et al., 2017).
iii. Ideological Challenges and Responses
Wang’s study on China’s New Wave Cinema critically analyzes how filmmakers
respond to ideological challenges in the post-socialist era (Wang, 2018). The work unveils the
struggle for a unique narrative voice amidst ideological constraints, providing profound
insights into how censorship shapes the thematic and aesthetic choices of Chinese filmmakers
in response to broader socio-political changes.
Topic Two: International Collaborations of China and other nations such as the United
States
International collaborations in the realm of cinema between China and other nations,
notably the United States, represent a dynamic intersection of cultural exchange, economic
interests, and creative endeavours.
i. Economic Implications and Hollywood’s Influence
Su analyses China’s encounter with Hollywood elucidates the economic implications
and cultural dynamics of the collaboration between the two film industries (Su, 2016). The
negotiation between economic gains and cultural identity is a recurring theme, demonstrating
how Hollywood’s influence shapes China’s film industry.
ii. Cultural Exchange and Soft Power
Thussu examines China’s media expansion, particularly in Africa, and provides insights into
the cultural exchange aspect of international collaborations (Thussu et al., 2017). It highlights
the role of media in projecting soft power and influencing perceptions globally, showcasing
how international collaborations contribute to shaping China’s image on the world stage.
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iii. Hollywood’s Globalization and China’s Response
Song analyses Hollywood movies in China and adds a nuanced perspective,
emphasizing the analysis of Hollywood’s globalization and China’s strategic response within
its cinema market (Song, 2018). The intricate relationship between the two industries is
explored, showcasing the impact of globalization on the Chinese film market.
iv. Transnational Cinemas and Challenges
“Remade in Hollywood” (2010) offers insights into the challenges and opportunities
arising from the global Chinese presence in transnational cinemas. The collaborative efforts
between Chinese and Hollywood industries are examined, highlighting the complexities of
navigating different cinematic traditions and meeting the expectations of diverse audiences.
Topic Three: Representations of Chinese culture in the media of film
The representations of Chinese culture in film media form a crucial aspect of the
broader discourse on cultural identity, globalization, and cinematic expression.
i. Evolving Representations in Chinese Cinema
Berry and Pang examines contemporary Chinese cinema studies and offers
foundational insights into how representations of Chinese culture have evolved over time
(Berry & Pang, 2010). The authors highlight the transition from a national to a transnational
perspective, emphasizing the need for a new framework to analyze the connections between
various filmmaking practices and global influences.
ii. Conflicts and Challenges in Globalization
Braester’s exploration of globalization and cinephilia in contemporary Chinese film
delves into the conflicts faced by modern filmmakers in balancing traditional values and the
influence of Hollywood (Braester, 2015). This work uncovers broader issues of cultural
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identity, ethical filmmaking standards, and the ongoing conflict between artistic integrity and
commercial popularity.
iii. Cultural Policy and Global Hollywood Influence
Su’s analysis of China’s encounter with Global Hollywood explores the impact of
Hollywood on Chinese culture through a lens of cultural policy (Su, 2016). The examination
of China’s responses to Hollywood’s influence provides a nuanced understanding of how
representations of Chinese culture are shaped within the context of global dynamics.
iv. Soft Power and Media Influence:
Thussu’s examination of China’s media expansion in Africa contributes insights into
how representations of Chinese culture are projected globally, particularly through channels
like CCTV Africa (Thussu et al., 2017). This work evaluates the strategies employed to
balance presenting China’s soft power while maintaining journalistic integrity.
v. Cultural Dynamics in Chinese New Wave Cinema:
Wang’s exploration of ideology and utopia in China’s New Wave Cinema critically
examines how filmmakers respond to socio-political changes and neoliberal policies,
providing insights into the representations of Chinese culture within a unique cinematic
movement (Wang, 2018).
vi. Historical Perspectives on Chinese Film
Yaping’s “General History of Chinese Film iii: 1976-2016” contributes a historical
overview, showcasing the major changes in the Chinese film industry and how
representations of Chinese culture have evolved over several decades (Yaping, 2023).
“The Spectral Return of Cinema” (Braester, 2015) investigates how Chinese
filmmakers navigate the challenges of globalization, providing insights into the diverse
perspectives shaping representations of Chinese culture.
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Topic Four: Cultural Histories in Chinese film
The representation of Chinese culture in film serves as a rich tapestry reflecting
historical narratives, societal norms, and the evolving identity of the nation.
i. Historical Narratives and Cultural Evolution
Yaping’s exploration of Chinese cinema’s history (Yaping, 2023) offers a foundational
understanding of how historical narratives are woven into the fabric of Chinese films. The
examination spans from the end of the Cultural Revolution to contemporary times, providing
a comprehensive overview of how films reflect the socio-political and cultural evolution of
China.
ii. Ideological Challenges and Responses
Wang’s study on China’s New Wave Cinema critically analyzes how filmmakers
navigate ideological challenges, offering insights into the complex relationship between state
ideologies and creative expression (Wang, 2018). The examination of thematic and aesthetic
changes reveals the intricate dance between cultural values and artistic autonomy.
iii. Globalization and Cultural Identity
Braester’s exploration of globalization and cinephilia in Chinese film addresses the
impact of global influences on Chinese culture (Braester, 2015) . The study uncovers
challenges faced by filmmakers in preserving traditional values while embracing
Hollywood’s special effects-heavy style, highlighting the complexities of negotiating cultural
identity in a globalized cinematic landscape.
iv. Representations of Cultural Diversity
“General History of Chinese Film iii: 1976-2016” (Yaping, 2023) explores the major
changes in the Chinese film industry, emphasizing the representations of cultural diversity
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within the evolving socio-political and economic landscapes. The examination of film content
reflects the dynamic interplay between tradition and modernity in Chinese culture.
Topic Five: Hybrid cultural space in Chinese film
Chinese cinema has emerged as a dynamic space where traditional and modern, local
and global, and East and West converge to create a hybrid cultural landscape.
i. Transnational Perspectives and Hybridity
Berry and Pang’s examination of contemporary Chinese cinema challenges
conventional notions of national cinema, advocating for a transnational perspective (Berry &
Pang, 2010) . This work lays the groundwork for understanding how hybridity manifests in
filmmaking practices, as diverse cultural elements transcend geographical boundaries.
ii. Balancing Tradition and Modernity
Braester’s exploration of globalization and cinephilia in Chinese film delves into the
challenges faced by filmmakers in balancing traditional values with modern cinematic
techniques (Braester, 2015). The conflict between preserving cultural heritage and embracing
global influences contributes to the formation of hybrid cultural spaces within the cinematic
narrative.
iii. Cultural Negotiation in Global Collaborations
Su’s analysis of China’s encounter with Hollywood provides insights into the
negotiation of cultural elements in global collaborations. The hybridity in cinematic
productions arises from the interaction between Chinese and Hollywood influences,
reflecting a cultural negotiation that takes place in the international film arena (Su, 2016).
iv. Soft Power and Global Influence
Thussu et al.’s examination of China’s media expansion contributes to the discussion
by exploring how CCTV Africa functions as a soft power tool. The hybrid cultural space is
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evident as Chinese media attempts to balance presenting China’s global influence while
maintaining a high standard of journalism, reflecting a nuanced interplay of cultural elements
(Thussu et al., 2017).
v. Cultural Dynamics in New Wave Cinema
Wang’s study on China’s New Wave Cinema critically examines how filmmakers
respond to neoliberal policies, globalization, and their impact on Chinese society. This work
reveals the hybrid cultural space within the cinematic movement, where traditional values
and modern socio-political changes intersect and influence narrative themes and aesthetics
(Wang, 2018).
Topic Six: Cultural Imperialism through global cinema in China
The globalization of cinema has brought with it the complex dynamics of cultural
influence, and in the case of China, it raises questions about the potential impact of cultural
imperialism through the dominance of global cinema.
i. Hollywood’s Impact on Chinese Film Industry
Su’s exploration of China’s encounter with Hollywood provides a comprehensive
analysis of the connection between Hollywood and the Chinese film business (Su, 2016). The
chapter sheds light on the challenges posed by Hollywood’s influence, emphasizing the
negotiation between economic gains and the preservation of cultural identity.
ii. Globalization and Its Impact on Cultural Sovereignty
Wang’s study on China’s New Wave Cinema critically examines how filmmakers
respond to globalization and neoliberal policies, revealing the tensions between external
influences and the quest for cultural sovereignty (Wang, 2018). The work contributes to
understanding the ways in which global cinema may challenge and shape cultural narratives
in China.
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iii. Cultural Imperialism in Media Expansion
Thussu et al.’s examination of China’s media expansion in Africa offers insights into
the potential effects of cultural imperialism (Thussu et al., 2017). The study evaluates how
Chinese media, through outlets like CCTV Africa, balances presenting China’s soft power
with maintaining journalistic integrity, thereby influencing perceptions in a global context.
iv. Hollywood’s Globalization and China’s Response
Song’s analysis of Hollywood movies in China adds a nuanced perspective on the
negotiation of cultural values within China’s cinema market (Song, 2018). The work
highlights the complexities of accommodating Hollywood’s globalized content while
preserving cultural integrity, revealing the potential for cultural imperialism through
cinematic exports.
v. Transnational Cinemas and Power Dynamics
“Remapping Contemporary Chinese Cinema Studies” challenges traditional ideas of
national cinema, emphasizing the need for a transnational perspective. This work contributes
to understanding how global cinema may shape power dynamics, potentially leading to
cultural imperialism within the Chinese film industry (Berry & Pang, 2010) .
Conclusion
In conclusion, the exploration of Chinese cinema’s representation, cultural histories,
hybrid spaces, and the potential impact of global cinema reveals a nuanced and dynamic
landscape. The examination of cultural histories in Chinese film, as presented by Yaping
(2023) and Wang (2018), showcases a rich tapestry that navigates historical narratives,
ideological challenges, and the negotiation of cultural values within the global cinematic
context. Hybrid cultural spaces, as discussed by Berry and Pang (2010), Braester (2015), and
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Su (2016), illustrate the complex interplay between traditional and modern, local and global
influences, contributing to the formation of a dynamic cinematic identity.
Moreover, the potential impact of global cinema on China, as analyzed through the
lens of cultural imperialism, underscores the challenges posed by Hollywood’s dominance
and the negotiation between economic gains and cultural preservation (Su, 2016; Song,
2018). The power dynamics and potential for cultural influence from global cinema are
further explored in works like “Remapping Contemporary Chinese Cinema Studies” (Berry &
Pang, 2010) and Thussu et al.’s (2017) analysis of China’s media expansion in Africa.
References
Berry, C., & Pang, L. (2010). Remapping Contemporary Chinese Cinema Studies.
China Review, 10(2), 89–108. h”p://www.jstor.org/stable/2346233
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Braester, Y. (2015). The Spectral Return of Cinema: Globalization and Cinephilia in
Contemporary Chinese Film. Cinema Journal, 55(1), 29–51. JSTOR
Su, W. (2016). China’s Encounter with Global Hollywood: Cultural Policy and the
Film Industry, 1994-2013. University Press of Kentucky. JSTOR
Thussu, D.K., de Burgh, H., & Shi, A. (Eds.). (2017). China’s Media Go Global (1st
ed.). Routledge
Wang, X. (2018). Ideology and Utopia in China’s New Wave Cinema: Globalization
and Its Chinese Discontents. Springer International Publishing.
Yaping, D. (2023). Globalization and Imagination in Films (2000–2006). In General
History of Chinese Film iii: 1976-2016. Taylor & Francis Group.
Remade in Hollywood: the global Chinese presence in transnational cinemas (2010).
Choice Reviews Online, 47(08), 47–4311. DOI
Song, X. (2018). Hollywood movies and China: Analysis of Hollywood globalization
and relationship management in China’s cinema market. Global Media and China,
3(3), 177–194. DOI
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The chapter aims to offer the foundational and guide of the use of cultural material in
qualitative research of communication. Lindlof and Taylor (2017) try to give the broad outlook
on material culture, including documents, objects and places and their usage in
communication. Having a primary argument provide readers with a context and a direction the
chapter will be taking. It gives the chapter a perfect flow, makes the text readable and
understandable, thus resulting in greater efficiency.
Ethical consideration is discussed in the chapter, the concern being the protection of
cultural materials like art, text, objects, and documents (Lindlof & Taylor, 2017). According to
the authors, when studying cultural material one should keep in mind a respecting rights and
ownership of that material and also a cultural and historical significance it can have. Ethical
concerns is one of the determining factors in research for it ensures the participation rights and
well-being of the investigated participants, protects the research process integrity, and ultimately
helps keep the trust of the general public in the research community. Through tackling ethical
issues, investigators show that they are in possession of ethical awareness, and that they respect
the principles and regulations governing research.
The chapter does not follow qualitative data collection methods. Instead, Lindlof and
Taylor (2017) discuss textual and literature analysis in the chapter as they review previous
literature, analyzing and synthesizing the existing scholarly works related to the qualitative
inquiry of materiality in communication. Textual analysis and literature search involves
scrutinizing available academic articles, books, and other written documents to pinpoint key
themes, principles, and research mechanisms presented in the field. By reviewing past literature,
3
the authors provided a comprehensive understanding of the qualitative research methods and
theoretical perspectives related to inquiry of materiality in communication.
While there are no statistics mentioned in this chapter, the literary analysis and the textual
analysis prove that cultural objects such as documents, texts, art, and artifacts, are of critical
importance in understanding the views, beliefs, perspectives, and the social and historical context
(Lindlof & Taylor, 2017). Therefore, as communication scholars learn about the nuances,
symbolism, and cultural meaning of these materials, they also get to understand the power
attached to them. By interpreting results, it indicates the authors’ ability to analyze and make
sense of the information from other literature sources. However, the absence of statistical
analysis limits the ability to make objective and quantifiable claims about the relationships or
patterns observed in the cultural objects. Additionally, the reliance on qualitative analysis may
introduce subjectivity and potential biases in the interpretation of the results. Researchers might
have different interpretation of a particular cultural object. Such diversification of the views
could lead to inconsistent findings. The solution to this shortcoming could be achieved by using
more quantitative techniques, such as surveys and content analysis, as the supplementary
instruments to the current qualitative analysis in future.
In their work, Lindlof and Taylor (2017) did not formulate hypothesis that would be
subject to testing. Their conclusions, as a result, were based on some earlier literature
reports. The fact that they cite other scholars and foundations speaks for their ability to look into
the previous research and theories to support their argument. In non-empirical studies, citing the
literature and providing the evidence as the main author’s basis, is particularly important for
ensuring the credibility and making clear the author’s awareness of the field and the existence of
4
the theory for their argument. With that in mind, the weakest point of the argument is situated in
the absence of empirical evidences and the lack of having direct data collection type. Such
writing remains as a collection of all the existing literature but no data or empirical findings to
back or make a clear conclusion and to establish a cause effect relationship.
Furthermore, two strengths of this chapter are: a) It covers in-depth discussions of
qualitative data collection methods, their strengths, and their appropriate contexts. b) The paper
is coherent because of the harmonization of the theoretical framework, logical connections of the
ideas, and the depth of the analysis. The authors’ ability to critically evaluate and synthesize
existing literature is essential in establishing the credibility and persuasiveness in their
argument .
This chapter’s implications are that it is a significant and valuable resource for
researchers, mainly for those studying communication within the qualitative research frame, to
understand and use proper qualitative data collection methods in their research as to acquire the
target cultural materials. It plays a key role in scientific rigor and ethical approaches of
qualitative research studies.
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Reference
Lindlof, T. R., & Taylor, B. C. (2017). “Chapter 8 Producing Data III” In Qualitative
communication research methods. Sage publications.
2
In their overview chapter, Lindlof and Taylor’s primary argument is that theoretical
traditions provide important frameworks that guide and inform qualitative communication
research. They argue that understanding these traditions helps researchers make better choices in
their studies, from framing research questions to analyzing and interpreting data (Lindlof &
Taylor, 2010). The authors provide a substantive review of primary theoretical lenses that have
shaped qualitative inquiry in communication, from established perspectives like phenomenology,
symbolic interactionism, and critical theory to more recent traditions like ethnography of
communication and feminism. Their central premise is that familiarity with these perspectives’
philosophical underpinnings, signature concepts, and methodological implications allows novice
researchers to appreciate how theory permeates qualitative research.
Since Lindlof and Taylor’s chapter is a conceptual overview rather than an empirical
study, it does not directly present ethical considerations related to original data collection or
analysis. However, in emphasizing the importance of theoretical traditions for guiding inquiry,
the authors note that qualitative researchers must be reflexive about how their personal
assumptions and theoretical biases may influence their studies (Lindlof & Taylor, 2010). From
framing research questions to interpreting findings, ethical diligence requires transparency about
the theoretical lens researchers apply and awareness of how this colors their approach. While
theory provides an invaluable scaffolding for qualitative studies, it can also introduce biases that
must be critically examined rather than unquestioningly propagated.
As a conceptual piece surveying established theoretical terrain, the chapter does not entail
collecting original data or deploying specific qualitative methods. Their approach involves
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reviewing and synthesizing relevant literature to summarize the emergence of major theoretical
traditions in qualitative communication research (Lindlof & Taylor, 2010). They trace the
historical development of perspectives like phenomenology and critical theory, charting their
early influences and seminal thinkers. The authors similarly elucidate key assumptions, signature
concepts, and methodological implications associated with each tradition they profile. Their data
consists of published scholarship on the origins and evolution of these theoretical frameworks
within the communication discipline and adjacent social science fields. Since this is not an
empirical study reporting findings from research with human participants, details about sample
size, demographics, or characteristics are not applicable. Lindlof and Taylor are reviewing
conceptual and theoretical literature, not primary research.
Rather than empirical results, the authors’ overview chapter yields a conceptual mapping
of major theoretical traditions that have shaped qualitative communication research. For each
tradition profiled, from phenomenology to feminism, Lindlof & Taylor (2007) highlight its core
philosophical assumptions, signature concepts and figures, and methodological implications. For
instance, in summarizing phenomenology’s origins, they explain its focus on understanding
subjective experience and meaning-making, tracing its roots back to Dilthey, Husserl, and
Schutz. Key phenomenological concepts like “lived experience,” “intersubjectivity,” and
“typifications” are also illustrated (Lindlof & Taylor, 2010). Since this literature review is
conceptual rather than data-driven, no statistics are reported to summarize the contributions of
each theoretical tradition. The “results” are a concise yet nuanced distillation of each tradition’s
orientation to qualitative inquiry.
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Lindlof and Taylor’s hypothesis that understanding theoretical traditions is crucial for
qualitative researchers is supported by their detailed overview of the literature on these
frameworks. By comprehensively outlining the origins, concepts, and methodological
implications of perspectives like phenomenology, ethnography of communication, and feminism,
they provide evidence of the foundational role theory plays in guiding qualitative communication
research (Lindlof & Taylor, 2010). Their summaries are convinced through substantive
engagement with each tradition, citing influential thinkers and core assumptions. The attention
they give to tracing the historical development of these frameworks further highlights the
enduring influence of theory in shaping qualitative studies. By spotlighting methodology, from
interviewing to analysis, they reinforce how theoretical traditions permeate all phases of inquiry.
There are two associated strengths of the article by Lindlof & Taylor (2010). One strength
is that the chapter provides an accessible synthesis of theoretical traditions for students and
novice researchers. That said, the authors distill complex philosophical assumptions and histories
into a concise primer using clear language and examples. This makes the chapter helpful as an
introduction to how theory undergirds qualitative communication research. A second strength is
that the authors illuminate the classic and more contemporary traditions. The elucidation of the
traditions helps demonstrate how frameworks like phenomenology and critical theory continue to
evolve and inform studies today.
As with any wide-ranging literature review, Lindlof and Taylor’s survey is necessarily
limited in how comprehensively it can engage each tradition. The authors openly acknowledge
this constraint, noting the complexity of social theory means their brief synopses cannot do full
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justice to the richness of each perspective. Providing examples of studies guided by each
tradition may have further enhanced my understanding of how theoretical principles operate in
practice. Still, within space limitations, the authors provide insightful overviews highlighting the
essence of each perspective.
Several implications stem from Lindlof and Taylor’s premise regarding the centrality of
theory for qualitative research. The chapter overview underscores how theoretical traditions
shape inquiry, formulation of research questions, data collection procedures, and interpretive
lenses. Researchers should thus intentionally articulate how theory guides their approach. The
authors also note creative combinations of theories may sometimes be appropriate but require
thoughtful justification. Further, they highlight that researchers’ theoretical proclivities may
reflect the editorial biases of journals. Therefore, the chapter by Lindlof & Taylor (2010)
demonstrates how familiarity with diverse traditions allows for a more informed use of theory to
scaffold qualitative studies.
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Reference
Lindlof , T. R., & Taylor , B. C. (2010). Chapter 3: Theoretical traditions and qualitative
communication research. In Qualitative Communication Research Methods (3rd ed., pp.
49–89). chapter, SAGE Publications, Inc.