Location

 

From Fellow Stephanie DeBoer: I chose location as my entry point. Location, alongside concerns for the formation of place or space, has been a central term through which the significance of film and media has been debated in their global frames (by producers, curators, directors, artists, critics, state workers, and citizens alike).

Understanding the contested formation of media locations is key to adequately interrogating the impacts of global cultural forms and processes.

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Discussion Questions

1) For this chapter, what factors, actors, and powers are at play in the formation of media locations?

2) Why is important for the author to emphasize the “struggle” and negotiation through which media locations are formed? What does this tell us about global media forms and contexts?

3) This chapter focuses on the formation film and media locations in urban contexts. How might these arguments hold (or not hold) for rural or suburban contexts equally formed in global processes?

Supplemental readings

Place, Space, Location and Global Studies

Appadurai, A. (1990) “Disjuncture and Difference in the Global Cultural Economy,” Public Culture 2(2), 1-24.

Curtin, M. (2003) “Media Capital: Towards the Study of Spatial Flows,” International Journal of Cultural Studies 6(2), 202-8.

Massey, D. (1994) “A Global Sense of Place,” Space, Place and Gender.  Minneapolis: University of Minnesota Press, 146-56.

Massey, D. (2007) World City. Cambridge: Polity Press.

Place, Space, Location and Media Studies

Berry, C., J. Harbord, and R. Moore, eds. (2013) Public Space/Media Space.  New York: Palgrave Macmillan.

Couldry, N. and A. McCarthy (2004) MediaSpace: Place, Scale and Culture in a Media Age. London and New York: Routledge.

DeBoer, S. (2015) “Locating the Global in the Asias of Cinema and Media,” Verge: Studies in Global Asias 1(1), 33-38.

Rhodes, J., and E. Gorfinkel, eds. (2009) Taking Place: Location and the Moving Image. Minneapolis: University of Minnesota Press.

Zhang, Y. (2010) Cinema, Space, and Polylocality in a Globalizing China.  Honolulu: University of Hawai’i Press.

Can be taught with these Framing the Global chapters

Form – provides another frame for thinking about how specific structures support the circulation and value of cultural and artistic objects.

The Particular – provides the analytical framework to understand the work of the particular (as distinct from the local, and not necessarily tied to place) and its relation with global processes.

Seascapes – examines how landscapes (here, of water) act as a kind of epistemology, an arena across which knowledge accrues, while at the same time connoting a cultural project.

Frames – underscores the ways in which particular frameworks not only represent and generate meaning, but also emphasize particular material connections.

Scale – offers a differently situated definition of and argument for the significance of scale in addressing global processes.

Media

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