Refine your search
Collections
Co-Authors
Journals
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z All
Dash, Amarendra Kumar
- Cultural Hybridity in Indian Television Commercials State of the Art to Future Technology
Abstract Views :274 |
PDF Views:0
Authors
Affiliations
1 Department of Humanities & Social Sciences (HSS) Indian Institute of Technology Kharagpur, IN
2 Department of HSS IIT , Kharagpur, IN
1 Department of Humanities & Social Sciences (HSS) Indian Institute of Technology Kharagpur, IN
2 Department of HSS IIT , Kharagpur, IN
Source
Media Watch, Vol 1, No 1 (2010), Pagination: 1-6Abstract
As the tr ansnational media and advertising tries to negotiate with the middle class consumers in India, unique patterns of fusion in the discursive structure of the television commercials are af loat. There is a proliferation of media c hannels and abundance of technology, and increased competition in the global Indian marketscape . The desire for distinction and br and optimization amid the c lutter of advertisings is pushing the industry for fresh modes of connecting with the customers resulting in the formation of hybrid advertisement content. The present paper proposes that cultur al and tele-visual hybridity in the Indian television commercials is inevitab le and has to undergo the test of revision and adaptation. The paper builds up the cenrt al issue of synergy between production, design and technology on the one hand and marketability, deli very and management on the otrhe . The paper r ationalises the link between technology and management and positions the research objective on the backdrop of the key problematic area. The second part of the paper deals with the concepts of design and delivery with relation to television commercials, while the third part addresses cultur al and tele-visual hybridity embedded in the television commercials. The fourth part is a close study of three television commercials collected from Z Cinema via Tata Sky. The fusion of rt aditional elements of Indian middle class life with the modern counterparts in the discursive structure of the advertisements is discussed. The implications of the hybrid audio-visual patterns as a str ategic instrument catering to the br and aspir ations are highlighted. Finally, a conceptual model of the next gener ation technology knocking at doorsteps and their relation to advertising hybridity and management is proposed.
- Science Communication in India—The Moderating Impact of Socio-Cultural Cognition
Abstract Views :249 |
PDF Views:0
Authors
Affiliations
1 Keonjhar district of Odisha, Keonjhar-758 022, IN
2 Department of Humanities and Social Sciences, Indian Institute of Technology Kharagpur - 721 302, West Bengal, IN
1 Keonjhar district of Odisha, Keonjhar-758 022, IN
2 Department of Humanities and Social Sciences, Indian Institute of Technology Kharagpur - 721 302, West Bengal, IN
Source
Media Watch, Vol 3, No 2 (2012), Pagination: 65-68Abstract
Science communicators in India assume that people are isolated, N-number of individual units of symmetrical scientific cognition and knowledge deficiency which can be addressed by a top-down, structured, rationalized flow of information and education. They fail to understand that humans are an organic part of a socio-cultural whole with complex cognitive and emotional interconnectedness. Based upon our live experience of science communication in India and the review of extant literature, we have tried to disentangle the values associated with the scientific community's approach to science communication in India and those of the general public who are supposed to be enlightened.Keywords
Cultural Cognition Of People, Deficit of Knowledge, Pluralistic Approach, Science Communication, Top-down Process- Glocalisation, Cultural Identity, and the Political Economy of Indian Television
Abstract Views :704 |
PDF Views:2
Authors
Affiliations
1 Rajiv Gandhi University of Knowledge Technologies, IN
1 Rajiv Gandhi University of Knowledge Technologies, IN
Source
Media Watch, Vol 6, No 2 (2015), Pagination: 219-225Abstract
From its Delhi moorings in the late 1950's till date, the Indian television has gone through steady evolution marked by phases of silent or radical revolution. Born with a political agenda of national reconstruction and turning out to be an ideological hegemony, its course has been redefined by absorbing transnational media participation and the dispersion of ideas in regional channels. It is to be noted that the Indian media market has shown resistance to both global as well as national cultural hegemony. While large scale glocalisation by the transnational media networks these days is the recognition that Indian market and culture cannot be radically colonised, the expansion of regional language channels later has weakened the hegemonic authority of national networks. The Indian market today is defined by the simultaneous presence of the global, the local, the regional, and the glocal media signifiers. Taken together, these significations point at a larger picture of glocalisation of market culture, especially, where the consumer agency consists of participants across space, class, gender, and generation.Keywords
Glocalisation, Decolonisation, Decentralisation, Indian Television, Cultural Identity.References
- Appadurai, A. (1990). Disjuncture and Difference in the Global Cultural Economy. In M. Featherstone (Ed.), Global culture (pp. 295-310). London: Sage Publications.
- Bhatt, S. C. (1994). Satellite invasion of India. New Delhi: Gyan Publications.
- Cayla, J. & Koops-Elson. M. (2006). Global men with local ischolar_mains: Representation and hybridity in Indian advertising. In L. Stevens & J. Borgerson (Eds.), Gender and consumer behavior, Volume 8 (pp. 150-164). Edinburgh, Scotland: Association for Consumer Research. Retrieved from http://www.acrwebsite.org/search/viewconference- proceedings.aspx?Id=12508
- Cullity, J. (2002). The global desi: Cultural nationalism on MTV India. Journal of Communication Inquiry, 26 (4), 408 - 425.
- Dash, A. K. (2012). Advertising strategy and cultural blend: Glocal identities in Indian TV commercials. Unpublished PhD diss., Indian Institute of Technology Kharagpur, India.
- Dwyer, R. (2002). Yash Chopra. London: British Film Institute.
- Giddens, A. (1991). Modernity and self-identity: Self and society in the late modern age. Cambridge: Polity Press.
- Jansson, A. (1999). Contested meanings: Audience studies and the concept of cultural identity. Intexto, Porto Alegre: UFRGS, 1 (5), 1-31.
- Kadri, M. (2006). Glocal-Cola: Visual communications of Coca Cola in India as a site of mediation between global and local factors. Retrieved from http://randomspecific.com/wp-content/uploads/2009/03/glocal_cola.pdf
- Kumar, S. (1998). Star on the horizon: Global, national, local (Tele)visions. PhD diss., Indiana University. Ann Arbor, US.
- Kumar, S. (2000). An Indian personality for television. Jump Cut: A Review of Contemporary Media, 43: 92-101. Retrieved from http://www.ejumpcut.org/archive/onlinessays/JC43folder/TVinIndia.html
- Mitra, A. (1993). Television in India: A study of the Mahabharata. New Delhi: Sage Publications.
- Ninan, S. (1995). Through the magic window: Television and change in India. New Delhi: Penguin Books.
- Pendakur, M. & Kapur, J. (1997). Think globally, program locally: Privatization of Indian national television. In M. Bailie & D. Winseck (Eds.) Democratizing communication (pp. 195-217). Cresskill, NJ: Hampton Press.
- Prahalad, C. K. & Lieberthal, K.(1998). The end of corporate imperialism. Harvard Business Review, 76 (4), 68-79.
- Rajgopal, A. (1993). The rise of national programming: The case of Indian television. Media, Culture and Society, 15, 91-111.