2 AssignmentS due in 48 hours

ARTICLE: NIPPLE RIPPLES: 10 YEARS OF FALLOUT FROM JANET JACKSON’S HALFTIME SHOW

ARTICLE: WHY DO MEDIA COMPANIES BLOCK MOVIES, MUSIC, AND TV BASED ON LOCATION?

This article lays out the basics of global and regional license restrictions. The article concludes that the reason producers of popular culture content adhere to global licensing restrictions is either for financial reasons or because of government mandates to serve a home country.

Why Do Media Companies Block Movies, Music, and TV Based on Location?

Henry, A. (2014). Why do media companies block movies, music, and tv based on location? Retrieved from https://lifehacker.com/why-do-media-companies-block-movies-music-and-tv-base-1509912540

Time Estimate: 20 min

ARTICLE: EU AGREES TO END GEOBLOCKING TO BOOST SINGLE DIGITAL MARKET

This story from the tech magazine site ZDNet investigates possible benefits and drawbacks resulting from the European Union (EU) ending geo-blocking within the member countries.

EU Agrees to End Geoblocking to Boost Single Digital Market

Osborne, C. (2017). EU agrees to end geoblocking to boost single digital market. ZDNet. Retrieved from https://www.zdnet.com/article/eu-agrees-to-end-geoblocking-to-boost-single-digital-market/

Time Estimate: 15 min

ARTICLE: MOVIES, MYTHS, AND MESSAGES: HOW ENTERTAINMENT IS CREATING A GLOBAL BRAND CULTURE

Markman notes the following in his article: “This article focuses on the U.S. entertainment industry that is creating a global brand culture. Motion picture messages have outstripped literature, classic music, theatre, and advertising as the authority to set not just an American identity but also a global cultural agenda. Intentionally or unavoidably, movies become part of the zeitgeist because they coincidentally arrive at a precise moment in history when their themes play into current events and capture popular culture. Motion pictures are powerful because they brand culture.”

Movies, Myths, and Messages: How Entertainment Is Creating a Global Brand Culture

Markman, K. (2005). Movies, myths, and messages: How entertainment is creating a global brand culture. Licensing Journal, 25(6), 27–30. Retrieved from the Walden Library databases.

Time Estimate: 25 min

ARTICLE: CROSSING BORDERS IN THE DIGITAL MARKET: A PROPOSAL TO END COPYRIGHT TERRITORIALITY AND GEO-BLOCKING IN THE EUROPEAN UNION

Per Hoffman, in his article: “The article focuses on the geo-blocking and territorial copyright in the European Union (EU) as well as the contemporary consumer reaction to geo-blocking practices. It mentions that European Commission should implement proposal as a significant step toward the creation of a single digital market in the EU. It also mentions that historical efforts against geo-blocking and consumer reaction to propose a new strategy for EU copyright in the digital age.”

Crossing Borders in the Digital Market: A Proposal to End Copyright Territoriality and Geo-Blocking in the European Union

Hoffman, J. (2016). Crossing borders in the digital market: A proposal to end the end copyright territoriality and geo-blocking in the European union. George Washington International Law Review, 49(1), 143–173. Retrieved from the Walden Library databases.

Time Estimate: 45 min

Geo-Blocking: For or Against?

Spreading and accessing culture around the world is not always as straightforward as you might think. The resources for this module talk about limits to global access of popular culture and how global access to popular culture can bond communities together. On one side, there are corporate, copyright, and financial issues that support the idea of geo-blocking. On the other side, there is a case for dispelling geo-blocks so that popular culture can act as a bond by sharing a narrative across national boundaries. Weigh the merits of both sides of the argument. It might help to think of a specific artifact/expression as an example. Post your own explanation of geo-blocking in  Discussions  and then argue either for or against it.

Note: Your examples of popular culture artifacts/expressions should fall under one or more of these categories:

· Music

· Music videos

· Movies

· Episodic moving image: TV shows

· Fashion

· Advertising

· Animations

· Printed material

This article takes a look back at a performance by Janet Jackson and Justin Timberlake during the halftime show at Super Bowl XXXVIII in 2004 and how a split-second wardrobe malfunction is still having repercussions in how broadcast content within the U.S. is being regulated.

Nipple Ripples: 10 Years of Fallout from Janet Jackson’s Halftime Show

Kreps, D. (2014, January 30). Nipple ripples: 10 years of fallout from Janet Jackson’s halftime show. Rolling Stone. Retrieved from https://www.rollingstone.com/culture/news/nipple-ripples-10-years-of-fallout-from-janet-jacksons-halftime-show-20140130

Time Estimate: 30 min

WEB RESOURCE: OBSCENE, INDECENT, AND PROFANE BROADCASTS

This section of the FCC website explains how to file a complaint if you believe that a broadcast is indecent or obscene.

Obscene, Indecent, and Profane Broadcasts

Federal Communications Commission Consumer Help Center. (n.d). Obscene, indecent, and profane broadcasts. Retrieved May 11, 2018, from https://www.fcc.gov/consumers/guides/obscene-indecent-and-profane-broadcasts

Time Estimate: 10 min

WEBSITE: FILM RATINGS.COM: THE CLASSIFICATION & RATING ADMINISTRATION (CABA) GUIDE TO RATINGS

The Motion Picture Association of America, a professional association for the film industry in the United States, is responsible for the ratings of films. Filmmakers submit their films to the association in order to receive a rating. Even though this is a voluntary process, movie distributors and theatre chains are reluctant to show movies without ratings. So, although a voluntary system, the economic effects are viewed as coercive. In addition to learning about the ratings system in general, please review: “About Us” and “History.” You may also want to explore other sections of this website.

Film Ratings.com: The Classification & Rating Administration (CABA) Guide to Ratings

Film Ratings.com: The Classification & Rating Administration (CABA). (n.d.). Guide to ratings. Retrieved  Retrieved May 11, 2018, from https://filmratings.com/RatingsGuide

Time Estimate: 60 min

ARTICLE: ‘NO GHOSTS. NO GAY LOVE STORIES. NO NUDITY’: TALES OF FILM-MAKING IN CHINA

This article discusses the lure of the Chinese market for filmmakers worldwide and especially Hollywood; the “trick” of finding ways to obtain Chinese government approval for showing movies, the compromises involved, and the influence of Chinese individuals investing in Hollywood.

‘No Ghosts. No Gay Love Stories. No Nudity’: Tales of Film-Making in China

Sala, I. M. (2016, September 22). ‘No ghosts. No gay love stories. No nudity’: Tales of film-making in China. The Guardian. Retrieved from https://www.theguardian.com/film/2016/sep/22/tales-of-film-making-in-china-hollywood-hong-kong

Time Estimate: 30 min

ARTICLE: SAUDI ARABIA TO ALLOW MOVIE THEATERS AFTER 35-YEAR BAN

This article discusses the easing of social rules in the interest of growing the economy and how the opening of movie theaters plays into new government policies. The Culture and Information Ministry makes censorship decisions for each film individually.

Saudi Arabia to Allow Movie Theaters After 35-Year Ban

Cowell, A., & Kirkpatrick, D. (2017, December 11). Saudi Arabia to allow movie theaters after 35-year ban. The New York Times. Retrieved from https://www.nytimes.com/2017/12/11/world/middleeast/saudi-arabia-movie-theaters.html