Is the Media American?

On the other hand, globalisation, as it has been mentioned above, does play a significant role in the given case. To be more precise, major US studios are ever more using local production facilities in Europe, Asia and Latin America. For instance, Columbia TriStar, Warner Brothers and Disney have set up international TV subsidiaries in order to create English-language co-productions, to be followed by country specific programming. However, that is not all; Sony has contributed to local-language film production in Germany, Hong Kong, France and Britain, and television programming in eight languages.
The last but not the least authors, James Curran and Myung-Jin Park, dwell on the Chinese media market and its characteristic features, for instance, the high involvement of the government in controlling the media market and its content. Staying closed in itself, China tried to follow rather doubtful policy. On the one hand, the government was interested in making media more popular. On the other hand, they invented a row of limits that were strict and prevented this field of market from growing. As a result, the Chinese society who has connections with the media market, experienced and still experience the sudden expansion in the domestic and entertainment media. The author emphasize that any media changes in the sphere lead to political consequences and connect this feature to the question about the media not being entirely American in 2005.
Conclusion


The media can be viewed as a combination of such diverse content as films, publishing, advertisements, television, radio, music, electronic games as well as technological devices. The Media and Entertainment (M&E) industry of America is the most chief world in the world and is expected to achieve $723 billion by 2018. As an open market, it is generously proportioned than Europe, or Asia, or Latin America for media and entertainment. In this particular case the industry is understood as it was defined by PwC: publishing of books and magazines, music and radio, film and television, games and Internet access, B2B (Business to business) and advertising in every sector, both digital and physical revenues for the discussed sectors. The film industry boasts a trade surplus, and the U.S. filmed entertainment hubs are in Hollywood, Los Angeles, California, New York City and New York as well as several states that concentrate on creation facilities for filming and film, TV, digital streaming content.
If one studies the environment on the market and American media’s role on it, it is going to be dubious and would not bring definite results, since every source of theoretical knowledge brings in unique elements or might be simply preconceived, even though in the most minimal way. Accordingly, every author or a group of thinkers have their true point of view proved by actual data and innumerous surveys, and the issue of the media being American becomes more philosophical rather than technical one.
The United Kingdom, if viewed among top markets, landed on the top export spot because it is one of the largest and more forceful M&E marketplaces with stable, consistent growth, comparatively fewer trade barriers. At the same time, India offers a rising middle class of high-tech know-how customers and an original leader who has promised to grow advance sectors what is thought to be a very demanding market, with trade barriers and high piracy pressure, uncertain functioning of laws that govern the sector. UK screen industries achieved gross revenues of nearly £20 billion in 2002 of which over two-thirds is TV-related, £3.5 billion is film, and £2.8 billion is in commercials and corporate video.
India offers a rising middle class of high-tech know-how customers and an original leader who has promised to grow advance sectors what is thought to be a very demanding market, with trade barriers and high piracy pressure, uncertain functioning of laws that govern the sector. In India the sector has a turnover of more than $350 million, while the output of its famous Bollywood – in terms of films produced – outstrips that of Hollywood, though worldwide revenues of the former are a small fraction of the latter.
The 24/7 multilingual news consortium of Europe’s public service broadcasters, TV5 and Radio France Internationale, aiming at the francophone market. Other transnational actors may include the Arab news network Al-Jazeera, the pan-Latin American TV channel Televisora del Sur (‘Television of the South’, Telesur) based in Venezuela, and the round-the-clock English-language global television channel, Russia Today (RTTV), intended to provide news ‘from a Russian perspective’, launched in 2005.
Therefore, the question of whether the media is (entirely) American is more philosophical rather than factual, although the existing data represents various periods of media market’s evolution for every country.
Bibliography


1 Curran, J., Park, M.-J. (2005) De-Westernizing Media Studies.
2 Valaskivi, K. (2007) Mapping Media and Communication Research: Japan.
3 Locksley, G. (2009) The Media and development. What’s the story?
4 Thussu, D.K. (editor) (2007) Media on the Move. Global Flow and Contra-flow. P. 4.
5 2015 Top Markets Report. Media and Entertainment (2015) http://trade.gov/topmarkets/pdf/Media_and_Entertainment_Top_Markets_Report.pdf

2015 Top Markets Report. Media and Entertainment (2015) http://trade.gov/topmarkets/pdf/Media_and_Entertainment_Top_Markets_Report.pdf
The same source. P. 3-4.
The same source. P. 4.
The same source. P. 4-5.
Locksley, G. (2009) The Media and development. What’s the story? P. 12.
Locksley. P. 12.
Valaskivi, K. (2007) Mapping Media and Communication Research: Japan.
Thussu, D.K. (editor) (2007) Media on the Move. Global Flow and Contra-flow. P. 4.
The same source. P. 4.
The same source. P. 11.
The same source. P. 11-12.
The same source. P. 16.
Curran, J., Park, M.-J. (2005) De-Westernizing Media Studies.












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