Cultural Discount, so right or so wrong?

“Cultural discount refers to a particular programme rooted in one culture, and thusly attractive in that environment, will have a diminished appeal elsewhere as viewers find it difficult to identify with the style, values, and behavior patterns of the material in question”  (Rauschenberger, E., 2003)

Before this week’s tutorial and lecture, I was not familiar with cultural discount. It was demonstrated through the use of subtitles and the distraction it brings to the viewer because your eyes are focused on reading than watching the story unfold. And I for one, suck at multitasking. But for some strange reason, Korean Dramas were a major exception, I loved every single element of their shows, I didn’t enjoy the show if it was dubbed because I felt like it ruined the Korean culture and I was missing the emotions and the character’s personality. And when I mean loved, I mean I had a season in my childhood where Korean music, drama, television, and culture were my main obsession (I’m over it now, I promise). I guess that is why I was not familiar with the cultural discount idea because I didn’t believe in it when I thought about all the times I watched Boys Over Flowers, Princess Hours, Coffee Prince (yes, I’ve watched a few more than once). Each series brought the Korean culture to my screen, it introduced me to the catchy music, the hunky characters and what it’s like to live, study and eat in Korea. I wanted to know more about what I was watching, I gained an understanding of their language, the abbreviations, and the catchy phrases. The characters carry their personalities on and off screen, super quirky!

Boys Over Flowers – Korean Drama

With further research I found the term ‘Korean Wave’ (Hanryu in Korean) meaning “spreading South Korean popular culture including films, soap operas, computer games and popular songs throughout Asia and beyond” (Kim, J.Y., 2007). First starting the wave in China and Taiwan, Hanryu syndrome was created and everything South Korea delivered to their Korean fans were being streamed across Asia. Researching the Korean Wave helped me understand why I was so addicted to it all, it wasn’t just me suffering the Hanryu syndrome but all other Asians across the world too. And what fascinates me the most, is that Korean producers, scriptwriters, directors and among many others – did not think twice about the cultural difference their dramas could bring to other countries. Instead, they embraced the popularity, enhanced the Korean tradition and succeeded in doing so. In this example and experience – cultural discount is so wrong.

With close reference to South Korean television drama and The Korean Wave, I believe the elements of cultural discount does not have a strong effect on audiences from across Asia. If anything, it is the complete opposite, their culture is captivating, fun and inviting and the characters demonstrate their traditions in a way that compels all audiences. I find myself valuing and loving the Korean pop culture more and more with subtitles and all!

References:
Kim, J.Y. 2007, ‘Rethinking Media Flow under Globalization: Rising Korean Wave and Korean TV and Film Policy Since the 1980s’, accessed online 17 August 2017

Rauschenberger, E., 2003, ‘It’s Only a Movie – Right? Deconstructing Cultural Imperialism: Examining the Mechanisms Behind U.S. Domination of the Global Cultural Trade’, accessed online 17 August 2017

 

A Bridge used to Connect Cultures

The Bridge is a Scandinavian TV series, with a thrilling crime genre. The series is set between two countries – Denmark and Sweden, capturing the cultural differences and similarities two detectives (one from Sweden and the other Denmark) share as they work together to find a killer. The series brought strong attention, with over 100 countries broadcasting on their programs. With three successful seasons, there is no doubt remakes were in the process – American and British versions to be exact! However, The Bridge was a created in a such a way that encapsulates the coming-together of two cultures – how can this story be remade?

Audiences tend to believe that remakes of popular film usually turn out mediocre in comparison to the original (J. Forrest, S. Martínez, 2015). But before you say the remakes are terrible! the format has been thoroughly tested and trialled before it hit your screens. Reformatting a film or a television series is required in order for audiences in their respective origin, can understand the plot at ease. It’s important for the U.S.’ The Bridge to keep the crime and the darkness because it was very compelling in the original series.

The two cultures the American version captures is Mexican and American, specifically right in between Ciudad, Juárez and El Paso, Texas. The remake surrounds the traditions and behaviours of the Mexican lifestyle as well as the American, which involves a bright and loud atmosphere. In comparison to the original series, Denmark and Sweden portray a dark and gloomy atmosphere – catching the attention from all audiences to give a closer look at each character’s performance. The American version depends on the colourful and enthusiastic elements of the series to differentiate themselves. The floral patterned button ups, sexy accents and charismatic individuals deliver an American/Mexican vibe. Therefore, creating two completely different series, appropriate to the respective countries’ tradition.

After reading some reviews of both shows, it is clear that Saga Noren from the original is a true favourite. Her character is well-played and creates gripping tension for the audience, even after seasons of losing characters, audiences still remain addicted to her fascinating appeal. Diane Kruger plays the role of Sonya Cross; the American remake tries to create a Saga within Sonya, keeping a hold of the story whilst reformatting its traditional originality. Audiences applaud Kruger’s hard work in filling a big role after the noteworthy character, they understood the pressure and difficulty that came with the role. This helped the American remake very memorable to fans.

Through my research on reviews, it seems like nothing can truly be better than the original. You can never make your grandma’s quality apple pie by adding an extra cup of sugar to your liking or replicate Big Mac sauce at home without knowing the secret ingredients. Just like lightning, it never strikes in the same place twice, something so powerful is unique at the same time. The Bridge series will always be a known favourite to the fans, but the original will always carry a distinct liking to everyone.

References:
Frost, V., 2013, ‘The Bridge: Saga Noren v Sonya Cross, ‘theguardian’

J. Forrest, S. Martínez, 2015, ‘Remapping soci-cultural specificity in the American remake of The Bridge’, Continuum: Journal of Media & Cultural Studies.

 

Are Developing Countries Keeping up with the Kardashians?

Keeping up with the Kardashians (KUWTK) is your classic American reality television show, circling the events of family drama, fashion, beauty, money, paparazzi and more drama. The reality show is now up to 13 seasons along with spin-offs Kourtney & Kim Take Miami and New York, Rob & Chyna, Khloe & Lamar and most likely more where that came from. This week’s lecture and tutorial examine different reality shows, what their story lines unfold and if they are translated into other countries (successfully). When I think of reality TV, I immediately think of KUWTK, it’s a love-and-hate relationship between that show and I.

While KUWTK is a wide-known TV show in the U.S., it isn’t so much heard of in third-world countries. According to research in 2015, the most googled person may have been Kim Kardashian in Australia, New Zealand, Canada, Sweden, Netherlands the U.K. and many among others in the developed world. Egpyt, Algeria, Libya and Tunisia have more important people to search for on Google (McCluskey, 2015) It is understandable that a search engine can’t distinctively identify the Kardashian movement in developed countries but the finding speaks of interest in specific countries – and Kim Kardashian, #1 star of KUWTK is not interesting according to Africa.

However, what people tend to dismiss is the fact that KUWTK is used as a platform to show women empowerment. Khloe, Kourtney and Kim demonstrate their business with their mom-ager can be tough and not-so-perfect at times. Andrea McDonnell writes about the Kardashian women standing up to multiple disagreements of post feminism through the media world. Their hard work is displayed through their materialistic dreams and fantasies, yes, but we tend to forget that as women they’ve achieved quite a fair amount in America. The Kardashian women deal with everyday life, balancing multi-million dollar brands with their social platforms. Countries in Africa are missing out on this type of inspiration, dealing with corrupt governments and policies – African women can learn from the Kardashian women about feminine empowerment.

The African culture can find it hard to see past the American culture, the sexual jokes and inappropriate language, since it is difficult to understand concepts of reality TV – especially when it’s far from the traditions they are used to.

References:
McClain, A.S., 2014, ‘Keeping Up the Kardashian Brand: Celebrity, Materialism and, Sexuality, The Journal of American Culture