The Indian Media Economy: New Perspectives from New Zealand Research Symposium 25th – 26th February 2014 and Workshop 27th February 2014.

18 11 2013

The Indian Media Economy: New Perspectives from New Zealand
Research Symposium 25th – 26th February 2014 and Workshop 27th February 2014.

Hosted by:
Faculty of Arts and Social Sciences, University of Waikato, Hamilton
http://www.waikato.ac.nz/fass/
Centre for Culture, Media and Governance, Jamia Millia Islamia, New Delhi
http://jmi.ac.in/aboutjamia/centres/media-governance/introduction

Organising Committee:
Dr. Adrian Athique
New Zealand India Research Institute and School of Arts, University of Waikato
Dr. SV Srinivas
Culture Industries and Diversity in Asia Programme, Centre for Study of Culture and Society
Assoc. Professor Vibodh Parthasarathi
Centre For Culture, Media and Governance, Jamia Millia Islamia

Supported by: New Zealand India Research Institute (NZIRI)
http://www.victoria.ac.nz/hppi/centres/india-research

Location: Raglan, Waikato, New Zealand.

The Indian Media Economy

The overarching notion of India as an emerging market for imported goods at the outset of the 1990s was rapidly superseded by a widespread recognition of the new prominence of India as a service-provider to the global economy, particularly in the fields of computer software, back office processing, call centres, biotechnology and others tropes of the ‘knowledge economy’. This shift to a ‘services provision’ model has been paralleled by two decades of very rapid growth in India’s media landscape, exemplified by the global ambitions of the Indian film industry, the domestic television boom, the rapid rise of mobile telecoms and the explosion of cross media advertising. As such, the ‘new economy’ of India as it stands today is largely imagined in terms of the cumulative aspirations, of consumers and policymakers alike, enshrined in the software park, the shopping mall, the satellite TV system and the multiplex cinema.

Alongside the much-vaunted ‘development’ of productive capacity in services and technology, the rapid growth of new forms of media distribution and consumption has served as the vanguard of economic and social change. The increasing global literacy amongst India’s diverse middle classes is being fostered by the widening ‘international’ outlook of the new media environment. In fact, international finance and domestic capital have moved decisively into the domain of entertainment over the past decade. New market positions have been accompanied by widespread experimentation with new and reformulated business models, entertainment formats, media technologies and marketing strategies. As India’s economy continues to grow in the face of recession in the industrialised world, the advent of widespread discretionary spending power in India takes on obvious global significance.

Within this broader context, India’s emergent media economy has been shaped by progressive deregulation in sectors that were previously characterised by state monopolies and traditional family businesses operating at various scales. The expansion of multi-national actors such as News Corporation, Sony and Vodafone was easily anticipated, but their role has been counterpoised by the rise of domestic media empires like Essel, Bharti and Reliance. This field of trans-national linkages and national giants is further juxtaposed by the increasingly significant role of sub-national cultural formations and an array of regionalised media providers, like the Sun, DB Corp and Sakaal Groups. In that sense, regionalisation, as much as commercialisation, has been a significant, and largely un-anticipated, dynamic of the liberalisation of the media economy.

Amongst all this, New Zealand has made some significant contributions to the media boom through the activities of companies like Walker Cinema Architects, Weta Workshops and Vista Entertainment Solutions. What we have learned in the process is that the reconfiguration of the media economy has great significance for the operation of the Indian economy as a whole, and equally so for the prevailing forms of democratic participation and expressions of public culture. Accordingly, this symposium will consider a spectrum of developments (political, technological, commercial and sociological) relevant to locating the Indian media economy from a broad range of inter-related academic perspectives.

Call for Papers
We would like to invite submissions for high quality papers that engage with the present transformation of the Indian media economy across a range of disciplines including, but not limited to: anthropology, Asian studies, cultural studies, development studies, geography, history, media and communications, political economy and sociology.
Suggested themes:
• Cultures of Consumption
• International Media Flows & Trade
• Journalism and Political Communication
• Media and Urban Transformation
• Media Commodities & Intellectual Property
• Media Law, Rights & Justice
• Media Workforce & Business Cultures
• Political Economy of the Media and of Regulation
• Technology, Communication and Social Change

Symposium 25-26 February 2014
The symposium will be located in the small but vibrant coastal town of Raglan, which is 45 minutes from the University of Waikato main campus in Hamilton (http://www.waikato.ac.nz). The symposium venue will be the Sunset Motel Conference Centre (http://www.raglansunsetmotel.co.nz). The symposium event will run for two full days and the format will include panel sessions and spaces for discussion. Refreshments and lunches will be provided. There will be no registration fee, although there will be a cost for accommodation at the venue.

Raglan has a range of accommodation options as well as a good selection of dining options and its famous beaches (http://www.raglan.net.nz/about-raglan/). Accommodation at the conference venue for those attending the symposium can be arranged via the event





Creative Industries

10 07 2012

Presentations at the First Cluster Meeting on Cultural and Creative Industries in Asia 3/4 August 2012, Bangalore India

The Political Economy ofthe Korean Film Industry Focusing on the Korean Blockbuster and the Dominance of Multiplex-Sung Kyung Kim, Sungkonghoe University, South Korea

A film industry in a given society should be understood within its complex social, economic, political and cultural matrix. In doing this, I believe that we are able to explicitly explain the structural as well as instant changes of the film industry. Applying this approach to the case of Korea, I argue that the Korean film industry and its fluctuation of the industry from remarkable growth over the last decade (1998-2007) to stagnation period since 2007 was mainly brought about by diverse socio-cultural; economic and political factors such as the promotional film policies used since 1984; industrial changes caused by Hollywood direct distribution in 1987; the financial crisis of 1997; an influx of young talented people from the end of the 1980’s, and the dominance of a leisure lifestyle amougst domestic audiences in the 1990’s.

In order to examine how these factors have contributed to the changes of the Korean film industry, I would divide its history into four broad periods corresponding to changes in both film policies and political situations: 1) the regulatory period (1960-1984); 2) the promotion, or ‘cultural industry’ period (1985-2002); 3) the stabilised period with neoliberalism (2003- 2007); and 4) the stagnation period (2008-present).

Three primary concerns apply to the analysis of these four periods: 1) the complex film policies that have been constructed around the industry over the last couple of decades, and the political and ideological effects of these on Korean cinema; 2) the changes in the economic situation of the film industry brought about by Hollywood direct distribution companies entering the Korean film industry and the financial crisis in 1997; 3) the influx of a new film generation in the industry and the changes in audiences’ cinema-going experience within the current condition of the Korean film industry. In particular, this paper focuses the dominance of multiplex and changing meaning of cinema-going practices in relation to the rise of local blockbuster, especially Korean blockbuster in the beginning of 2000’s, but later I would argue that the complex structure of multiplex, its cinema-going and Korean blockbuster resulted in the stagnation of the Korean film industry in recent years.

Japanese Content on Children’s TV in India – A Preliminary Study-Ruchi Jaggi, Symbiosis Institute of Media and Communication, Pune, India

It is significant to note that the content on Indian television has changed dramatically because of the proliferation of multiple genres and narratives (privatization and liberalization that brought in satellite television) that cater to several demographic groups and varied sensibilities. It has also multiplied the cultural resources available to the Indian audiences. Children’s television is a significant offshoot of this growth. Serious and scholarly studies on television in India and more so on children’s television are very few and far between. A few studies that exist are either very dated or inspired from the Western paradigm of ‘effects research’ that was very popular once.

Indigenous Cultural Production and the Circuit of Non-Corporate Capital A Study of Cultural Hubs in Urban India- P. Radhika, Centre for the Study of Culture and Society, Bangalore, India

Heritage and the Forgetting of Globalization- Daniel PS Goh, National University of Singapore, Singapore

Singapore has been hailed as an exemplar of a colonial city that has successfully preserved its cultural and architectural heritage while pursuing re-urbanization and transformation into a global city. This essay does not seek to explain or evaluate the two decades of heritage preservation in Singapore, which is a worthy project in its own right. In this essay, I go “deeper” here into the very ontology of things that we keep calling “heritage” and ask questions that Paul Ricoeur has posed in the context of Western philosophical traditions and the possibility of history after mid-twentieth century European debacle.

What is heritage? What does it help us forget? My aim here is to seek answers under the conditions of postcolonial and globalizing hybridity. Answering these questions will help us see the cultural contradictions of Singapore’s embracement of global capital as society tussles with postcolonial legacies of multiculturalism and nationalism. Drawing on the cultural productions of state museums and heritage festivals, I will lay out my answer to the first question in object-subject terms, in which heritage is
manifested and treated as resource and commodity and as identity and ideology. For the second question, I discuss the geographies of HeritageFest 2011 and argue that we are seeing in the 2010s a shift from the remembrance of Singapore to engage globalization in the previous decades to the forgetting of globalization in order to remember a globalized Singapore as fait accompli. Understanding the semiotics of forgetting, in turn, calls for a different approach to the politics of heritage conservation.

‘Creativity &Coloniality’ Policy Matters, Identity Synergies, and Beyond- Stephen C.K. Chan, Lignan University, Hong Kong

Hong Kong’s economic structure has changed since the end of Cold War, shifting from manufacturing- to service-based. A mode of social imagination has since come to reconstitute her moments of (neo)colonial governmentality in an evolving global order. Today in Asia, any contemporary forms of locality rearticulate themselves to history with new cultural twists and political concerns. Whereas colonial moments and social experiences had marked the production of modernity under late capitalism, the hybrid social formation now weaves multiple tensions and contradictions into the historical logic of postcoloniality.

As creative industries play a new role in regional economies, small and medium-size enterprises (SMEs) continue to enhance social growth. Taking up 98% of the baseline business, the productive work of the SMEs’ local meditations remains crucial. Driven by agility, talent and entrepreneurship, the emergent cultural practices offer a mapping of cross-disciplinary (identity) mediations, on the basis of which one studies the bias, strategies and conditions affecting creativity. These display a dynamics of creative synergy, with which common challenges are met (such as risk-taking ‘ventures’, innovation-led imperatives, and a social environment people deem free, resourceful and inspiring). While examining the heterogeneity, fluidity and dynamics of creativity, we shall discuss how policy matters for nurturing entrepreneurship at various stages of cultural growth under transnational capitalism.

Economic and Commercial Aspects of Lifestyle Magazines in Indonesia Annisa R. Beta, University of Indonesia, Indonesia

The focus on the speedy growth of Indonesia’s middle class and the nation’s economic development in the 21st century has helped the shift of attention of the culture industry to lifestyle magazines as a media between producers to its potential consumers. The ‘reformed’ Indonesia is now seen as a pool of opportunities for various types of profit-oriented lifestyle media to attract specific audience. This report aims to cover the historical span of lifestyle magazines in Indonesia, focusing on its commercial aspects with the influence of socio- political situations over time. It covers the types of lifestyle magazines and the circulations of the magazines along with the influential media groups to illustrate the current dynamics of the industry. This report covers the historical context to illustrate socio-cultural, economic, and ideological changes in the country, which influence the development of media industry, specifically lifestyle magazines, in Indonesia.

Creative Industries and their Discontents ‘Creative Industries in East and Southeast Asia’- Yoshitaka Mōri, Tokyo University of the Arts, Tokyo, Japan

The term ‘creative industries’ has been used to represent not only media and culture industries, but also a variety of related industries from fashion, food and design to architecture in Japan since the beginning of the 2000’s. Although the discussion over the creative industries made by Florida and others has been introduced into academia, the term itself has been primarily administrative: this has often been applied in state economic policy, urban planning and diplomacy, but strangely it has rarely been used in public discussion. The paper examines, firstly, the way in which the idea of creative industries was accepted and appropriated within the Japanese context and used in cultural, economic and even diplomatic policy in relation to the ‘Cool Japan’ project that the Japanese government has promoted. Secondly, the way in which the term has created ideological discursive formation in new capitalist economy will be illustrated. Finally the working conditions in creative industries is discussed, as it sometimes offers a new life style, which is currently characterized as ‘nomad’ work, with a positive connotation while it often invites an
exploitative labor market by mobilizing the youth people’s desire to be ‘creative’. Through the examination of the creative industries and the related policy in Japan, emerging formations of labor/leisure, state/capitalism and culture/politics/economy will be argued. The shift from the culture industry which Adorno and Horkheimer once criticized to the creative industries that the government promoted in an uncritical manner will demonstrate the transformation of power, capitalism and culture.

Asian Cultural Content in India-S.V.Srinivas, Centre for the Study of Culture and Society, Bangalore

Animating ‘Local Culture’ the Character Goods Industry in Taiwan and Hong Kong-Teri J Silvio, Institute of Ethnology, Academia Sinica, Taiwan

For the past three years I have been conducting an ethnographic research project on how original character goods (figurines, logo characters, cartoons, etc.) are designed, marketed, and consumed in Taiwan and Hong Kong.

The main goals of this project were 1) to trace connections (or disconnects) between how designers create (the impression of ) unique personalities for cartoon/ toy characters and commercial brands, and how they conceive of and enact their own social identities, including the role worker in the creative industries, as well as gender and national identities; and 2) to examine how collectors of character goods constructed personal relationships with the characters through practice and discourse; and how they conceived the ontology of those characters.

This paper will compare Taiwan and Hong Kong in terms of how the creative industries are structured, how designers forge their careers, and ideologies regarding the relationship between “local culture” and creativity. I will then suggest some ways that the project might be expanded to look at character goods design and consumption in other Asian sites, and at international networks of design and collection.

A Study of Circulation of Manga and Anime in India-Shilpa TannaThe English and Foreign Languages University, Hyderabad, India

Despite an increasingly palpable popularity of East Asian (East Asian here is limited to Japanese and Korean and in some cases Taiwanese) popular cultural products (manga, anime, video-games, live action series etc.) in India, there does not seem to be a proportionate market/outlet for these products. This leads one to presume that the circulation of these products in the country must be happening mainly through “illegal”/unofficial channels. Given the democratization of media products brought about by digital technologies in the recent times, it is perhaps safe to assume that piracy has played a prominent if not the most crucial role in this phenomenon.

It is the aim of my project to explore the various channels, both “legal”/official and “illegal”/unofficial,through which these products circulate in the Indian market and to see if the above supposition that piracy in fact plays a significant role in the wider circulation and rising popularity of these products in India holds true and can be proven beyond doubt.

Subversive entrepreneurship and the changing creative ecology in Hong Kong-Oi Wan Lam, Lingnan University

Through the in-depth case studies of three cultural and creative SMEs in Hong Kong, namely DayDream Nation (DN), a fashion house, PIP, a performance and entertainment production house and GOD, a product design house and retailer, we examine various aspects of creative entrepreneurship in Hong Kong against the context of the post 1997 neo-liberal economic crisis and the shift of public discourse in favour of creative industries.

When defining their business’ cultural mission, the creative entrepreneurs among SMEs are higher critical of the highly monopolized economy, government bureaucracy and the increasing restriction on freedom of expression under mainland Chinese influence. Their cultural and political discontents derived from their experience and often time struggle in spatial clustering, cross-sectorial creative community building and freedom of expression has paradoxically, become a distinctive character for their creative expression that shapes the ecology of local cultural and creative industries and develops a niche market in the highly competitive regional and global market.

Space of production and production of space – A comparative case study between the cultural creative industries in India and Hong Kong-Chan Ka‐yi, Lignan University, Hong Kong. 

Under rapid growth of urbanization in metropolitan cities, urban renewal and land utilization policy is taking a major position to the daily lives. This research is to collect information from individual cases in the cultural creative industries in India and Hong Kong for further study of cultural policy in the notion of land use.

The Condition of Indian Animation Industries between Global Economy and Local Culture– Yukie Hirata, Dokkyo Ujiversity, Japan

This research was aimed to draw the conditions of Indian animation industry, especially two major aspects . First, the role of the Indian animation industry in global animation production. The study examines the relationship between the animation industries in India and those in the US or Japan.

A Comparative Research on the Asian Blockbuster(s) and Multiplex in Asia: A Holistic Approach to the Film Industry, Text and Cinemagoing– Sung Kyung Kim, Sungkonghoe University, South Korea

As a Korean academic who has been specifically researching the Korean blockbuster, the research starts from the cases of the latter and searches for the possibility of Asian blockbusters. By adopting comparative perspective, this research will not remain only in the case study of Korean blockbuster, but rather expand its research scope to other local film industries, namely India and China, in order to move towards the possibility of regional blockbuster.

CIDASIA Resources and Documents

Creative Industries, The Way Forwad– Dr.S.V.Srinivas,CIDASIA, CSCS, Dr.P.Radhika,CIDASIA, CSCS and Ashish Rajadhyaksha, Senior Fellow, CSCS with inputs from K.Sravanthi

This study is a part of a larger CIDASIA initiative to research the area of what we call ‘culture industries’ that includes both ‘creative industries’ and ‘cultural industries’ (including crafts and legacy industries), focussing on the increasing areas of overlap between the two. The initiative attempts to assess the viability of international and government policies for cultural and creative industries and thus lay the groundwork for a hitherto unprecedented intervention of philanthropic organizations in the domain. We specifically focus on culture industries through the node of ‘livelihoods’ that we see as inextricably tied to this sector.

Economy, Politics, Culture Industry Case Studies of the Kannada and Bhojpuri Culture Industires– Dr.P.Radhika, CIDASIA, CSCS with inputs from S.V.Srinivas and Sravanthi Kollu, CIDASIA, CSCS, Sushmitha S. and B.Shrikanth

A report on the Kannada Culture Industry.

When The Host Arrived A Report on the Problems and Prospects for the Exchange of Popular Cultural Commodities with India

Diminishing Spaces for Cultural Performance in Bangalore- P.Radhika

Business of Culture in India- S.Ananth

What is that Star Media Cultural Action in the Claiming of Space-Lam Oi Wan

‘Hong Kong’ A New Page for Affective Mobilization-Lam Oi Wan and Ip Lam Chong

Citizen media action and the transformation of indecency and obscenity censorship in Hong Kong- Lam Oi Wan

This paper explores the reconfiguration of local civic forces on issues related to morality, youth protection, sex and sexuality, press freedom and human rights in a wider colonial and post-colonial political context in the light of  the recent history of indecency and obscenity regulation in Hong Kong.

The ‘Nation-State’ and Transnational Forces in South India-Takako Inoue

Comparative Aspects of Christian Music in India, China, and Russia-Takako Inoue

Popular Music ; Intercultural Interpretations-Takako Inoue

Path from India, Path from Japan-Takako Inoue

La reforme de la tradition des devadasi-Takako Inoue

Gender and Modernity-Takako Inoue

Between Art and Religion ; Bhagavata Mela in Thanjavur-Takako Inoue

State Carnivals and the Subvention of Multiculturalism in Singapore- Daniel PS Goh

From Colonial Pluralism to Postcolonial- Daniel PS Goh

Capital and the Transfiguring- Daniel PS Goh





Asian Culture Industries: Proposal for a Network of Researchers

10 07 2012

Asian Culture Industries


In continuation of discussion within the Inter-Asia Cultural Studies collective over the past few years, CSCS proposes to establish a network of researchers from different parts of Asia who are work in the broad area of culture industries in Asia. We have received a modest grant from Japan Foundation, New Delhi which includes a small amount for setting up such a researcher network (see details of the project in the Appendix below).

Based on the conversations with IACS other colleagues we would like to suggest that we use the opportunity provided by the Japan Foundation grant to build a functioning network by:

i) Making our research related to different aspects of cultural and creative industries in the particular contexts of our specialisation available to a larger group of researchers who are working on related questions in their own locations. In addition to putting out work in progress on web-based platform, we could also mediate key policy documents and other texts by alerting each other that the issues foregrounded by the context are.

ii) Identifying issues which can be examined within a comparative framework and whether this can be done collaboratively by researchers located in more than on one Asian location

iii) Assembling a project proposal that will involve several institutions and researchers across Asia to support a) research b) student and faculty exchanges and c) summer schools, conferences, etc.

CSCS has been working on two related projects whose findings and materials it will put out to the network: Creative Economy, with specific reference to cities, “traditional” culture and livelihood creation and inter-Asia circulation of Cultural Content produced by Asian industries. We will also be actively engaged in exploring one other Asian context to get a comparative perspective on our largely India-based research.

 The Network:

We would like organize a two-day meeting in August 2012, alongside the IACS Summer School in Bangalore. During the event we invite the members of the network to present what will be the individual components of the larger research project on Asian culture industries. We will be able to support the local hospitality of the participants, and in some cases, a part of the travel cost of the participant.

* * *

Appendix:

 

Cultural and Creative Industries in Asia: Towards a Collaborative Inter-Asia Research Project and Exchange Programme

(Supported by Japan Foundation, New Delhi)

 

Project Objective:

1. To carry out a collaborative research project involving multiple researchers located in different parts of Asia on Cultural and Creative Industries in the region. The primary focus of the research project will be culture industries and cultural policy in the major Asian economies namely Japan, South Korea, China, Hong Kong SAR, Taiwan and India.

2. To build a network of collaborators that will engage in lively discussions on the questions thrown up by specific Asian locations on a set of research questions shared by the researchers.

3. To facilitate training in research on creative industries as well dissemination of the work of the network in various locations of Asia. This will involve participating in summer schools and international conferences and facilitating student and faculty exchanges.

The Project

The proposed project is aimed at starting a research project on cultural and creative industries in Asia that will be carried out in different locations across Asia by a network of collaborators. Each collaborator will work primarily on a research field with which they have considerable expertise but will attempt to carry out comparative analyses with other locations and engage in sustained conversations with other members of the network in order to produce a body of new research on the broad area of cultural and creative industries.

In disciplinary terms, our project seeks to have a long term impact on Film Studies and Cultural Studies by facilitating long term engagement between scholars and younger researchers of these disciplines with Communications and Media Studies practitioners. Some of the suggested areas of research are:

a) Cultural impenetrability and Asian markets/popular cultures; b) Localization; c) Creation of new subcultures around cultural forms imported from other parts of Asia; d) Underground markets and e) Dispersal across media formats and its aesthetic, social and political implications.

Components of the Project

a) Exchange programme for Students: which supports the two way movement of scholars and younger researchers (MA/PhD students) to other locations in Asia in order to carry out a part of their research. This includes a student fellowship that Japan Foundation will support for the costs of hosting one Asian research student per year at CSCS. Each student can spend up to one year in India doing a part of his/her field work and library work here AND/OR enrol in coursework at CSCS. Simultaneously, one Indian research student will travel to another Asian university/research centre to either carry out his/her research or enrol in a course there. CSCS-Japan Foundation grant supports a part of the cost of the Indian student’s travel and living expenses. A partner institution in Asia is expected to support accommodation and living costs of the Indian student in that institution.

b) Exchange programme for Faculty: Under the exchange programme, the project will 1) support a part of the cost of one Indian faculty member’s travel to another Asian country to carry out a part of his/her research or library work for a period of up to three months and 2) support a part ofthe travel and other costs of one faculty member from another Asian country to spend up to three months in India.

Overall, under the exchange programme, one PhD level student will be hosted in India each year, one PhD level student from India will travel to another Asian university, one Indian researcher will travel to another Asia location for up to three months and one researcher from another Asian country will travel to India.

c) Building a network of researchers: The grant has modest funding to set up a web-based platform for hosting text, audio and video materials—including author versions of publications—and also share news of events, publications etc. The website can be jointly conceived and administered by CSCS and other interested Inter-Asia collaborators.

Cultural and Creative Industries in Asia: Proposal for a Network of Researchers

CSCS proposes to establish a network of researchers from different parts of Asia who are work in the broad area of culture industries in Asia by:

i) Making research carried by collaborating institutions on cultural and creative industries available to a larger group of researchers. In addition to putting out work in progress on web-based platform, we could also mediate key policy documents and other texts by alerting each other that the issues foregrounded by the context are.

ii) Identifying issues which can be examined within a comparative framework and whether this can be done collaboratively by researchers located in more than on one Asian location

iii) Assembling a project proposal that will involve several institutions and researchers across Asia to support a) research b) student and faculty exchanges and c) summer schools, conferences, etc.

CSCS has been working on two related projects whose findings and materials it will put out to the network: Creative Economy, with specific reference to cities, “traditional” culture and livelihood creation and inter-Asia circulation of Cultural Content produced by Asian industries. We will also be actively engaged in exploring one other Asian context to get a comparative perspective on our largely India-based research.

The Network:

We would like organize a two-day meeting on 3-4 August 2012, alongside the Inter-Asia Cultural Studies Summer School in Bangalore. During the event we invite the members of the network to present what will be the individual components of the larger research project on Asian cultural and creative industries.





Comparative Aspects of Culture and Religion: India, Russia, China – September 15th and 16th CSCS

6 09 2011

 

 

 

 

 

 

 

 

 

 

 

 

Centre for the Study of Culture and Society invites scholars, academicians, and students to attend Comparative Aspects of Culture and ReligionIndiaRussiaChina International Conference organized by CSCS and Slavic Research Centre, Hokkaido University on the 15th and 16th of September 2011.

For details contact srinivas(at)cscs(dot)res(dot)in

Venue:

Centre for the Study of Culture and Society
827, 29th Main Road
Poornaprajna Layout
Uttarahalli, BANGALORE – 560 061

Phone: 91-80-26730476, 91-80-26730967, 91-80-26730268

Fax: 91-80-26730722.




Stars at Work – 7 Week Course at CSCS

4 07 2011

Following some of the work presented and discussed in the Asian Culture Industries Conference, an open mural course at CSCS is now being offered that examines some of the concerns arising out of the conference. This particular course is a short 7 week course by S.V. Srinivas, Coordinator of the CIDASIA Research programme and Senior Faculty at CSCS.  More details of the course are attached in this post. For full details of diploma courses on offer from CSCS, please visit here. The last date for receiving completed Applications are 15th July 2011.

For more details on the instructor visit Academia.edu , CSCS profile page , Facebook, or write to srinivas@cscs.res.in

Stars at Work

Course Instructor: S.V. Srinivas

Film stars are a ubiquitous presence in Indian public life today. While all film industries in the world create and are dependent on stars to reach audiences, in the Indian context they have been a visible presence in politics as well. This course examines how stars are produced by cultural industries, how they work in films and the world at large. Students will be introduced to discussions on stardom in the disciplines of film theory, sociology and political science. The general features of stardom will be illustrated with the help of examples from Indian and non-Indian film industries and cultures. Case studies from Bombay and South Indian cinemas will be analysed.

The objective of the course is provide a conceptual-critical tool-kit to journalists, art practitioners, cultural critics, college/university teachers, academic researchers and creative industry managers, who encounter stars in their line of work. Participants will be required to make brief presentations and take active part in classroom discussions. They are encouraged to bring to class films and other material relevant to the course. Assessment will be on the basis of a mini-research study undertaken by participants.

The course will be held on Saturdays, 10 am-1 pm and the duration of the course is seven weeks. For specific course related enquiries write to srinivas@cscs.res.in

Aiming to address a diverse constituency (post-graduate and PhD students, activists, professionals) the courses can have flexible timings (weekends or late weekdays) and duration (intensive or extensive) where desired. The courses can be taken individually or in combination. The fees for a 14-week course (approx 42 hours) will be Rs.6000/- only. For the 7 week duration short course (approx 21 hours), the fees will be Rs. 3000/- only. Participants can convert course credits retroactively to earn a Diploma in Culture and Contemporary Systems (8 credits required at 2 credits per 14-week course).

To Apply: Applicants should send an email to radhika@cscs.res.in with “Registration: 2011 CSCS Open-mural Course” as Subject. They should mention which course/s they wish to be enrolled in and send in their CV. There is no minimum qualification required. Only applicants who wish to enrol in four 14-week courses to subsequently earn a diploma need to have a post-graduation. Such applicants need to send in their PG marks-card along with their CV. The last date for applying is 15th July 2011.





Snapshoots

12 01 2011

A Few Snapshots of the Conference.

 

 

 

 

 

 

 





Protected: S.V. Srinivas – Rajnikant in Japan: Indian Superstardom and Low Value Markets

19 12 2010

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