By Juluri Vamsee
What does globalization suggest for the tv viewers? Becoming a world Audience examines issues of cultural imperialism in terms of the particular adventure of tv reception in a postcolonial context. the increase of satellite tv for pc tv in India within the context of financial liberalization in 1991 has been marked by means of the localization of world tune tv networks like MTV and Channel V. This e-book argues, despite the fact that, that this ''Indianization'' is not any reason for occasion. utilizing in-depth interviews with Indian song tv audience and theoretical ways drawn from political-economic, cultural, and postcolonial stories, it argues as an alternative that the reception of ''Top Ten'' exhibits and nationalistic track video clips is a part of a profound reordering and appropriation of logic lower than the altering social relatives of globalization.
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Additional info for Becoming a Global Audience
Viewing Segments Such microscopic attention may not be methodologically feasible, but needs to be noted all the same, as these are all textual features that are not only pervasive, but also distinctive to a large extent of contemporary television in India—even as these may have been naturalized and routinized by viewers. However, for the purpose of facilitating discussion in a group interview format, four representative segments were selected in this study. The ﬁrst segment selected for the interviews consisted of excerpts from Juluri: Becoming a Global Audience Juluri v-viii-092 7/21/03 2:38 PM Page 19 page 19 Introduction | 19 the title sequences of three countdown shows.
While radio was certainly more widespread in conveying ﬁlm music to the masses, as Manuel (1993, p. 40) writes, it was also cautious in turning to ﬁlm music (the popular Vividh Bharathi was established on All India Radio in 1957 only because radio audiences were tuning into Radio Ceylon for ﬁlm music), and did not take away from ﬁlm as the primary context for ﬁlm songs. Manuel (1993) demonstrates that the cassette revolution unleashed major changes in the Indian music industry, paralleled perhaps only by the impact of music television in recent years.
Its successful run, however, was challenged at this time by the return of MTV. MTV India began broadcasting in 1996, with a focus on deﬁning and capturing an audience that would simultaneously be more “Indian” and young (Rawla & Hussain, 1997). It began to promote Indian pop music videos, as well as celebrity VJs of Indian and Indian/Western backgrounds. At the same time, for nearly one year after its return, MTV India avoided Hindi ﬁlm music, in spite of its visibly “Indian” look in its promos.