Read Instructions

Your assignments should always include the following:

Complete title of reading(s) with author’s name(s). My questions with your answers. Use quotation marks and parenthetical citation (“print” page number, not “PDF” page number when applicable) when quoting directly from the text.

About 40% of each of your answers should be paraphrasing based on your understanding of the text, the other 60% should be direct quotes (properly cited) from the reading.

McAuliffe, Cameron and Kurt Iveson. “Art and Crime (and Other Things Besides… ): Conceptualising Graffiti in the City.” Geography Compass, vol. 5, no.3, 2011, pp. 128–143.

In their article, McAuliffe and Iveson choose a series of interrogations of common dialectical positions to talk about graffiti. Briefly summarize the position presented by the authors for each of the following questions:

Please use a combination of direct quote and your own words in your answer. At least 200 words altogether.

1.Is it art or crime? (i.e., What is the argument for it being called a crime? What is the argument for it being called art? Is it public or private expression?

2.(i.e., What is the argument for public expression? For private expression?)

3. Is it a purely cultural practice, or is it economic? (i.e., What is the argument for cultural practice? For economic practice?)

4. Is graffiti necessarily ephemeral, or does it seek permanence? (i.e., What is the argument for ephemerality? For permanence?)

Lennon, John. “Assembling a Revolution Graffiti, Cairo and the Arab Spring.” Cultural Studies Review, vol. 20, no. 1, March 2014, pp. 237–260 & 266-75.

(2 points) Lennon’s thesis is articulated on page 241: “This article… is not an attempt to tease out these various religious, social, gendered and economic arguments that were, in various degrees, presented during the demonstrations and its aftermath…. Instead, my focus is on Cairo graffiti and particular ways revolutionary desire is articulated and interpreted through this

medium. This passionate, though amorphous, desire is neither dogmatic nor uniform.” What does the author mean when he says that this “desire is neither dogmatic nor uniform”? (At least 50 words.)

(3 points) “The Freedom Painters” are a graffiti collective who want to work within a “legal framework” (255).

What are two (2) ideological reasons, as stated by the author, for why other Egyptian writers (like Ganzeer) choose to write illegally? (At least 75 words)

(5 points) Choose two (2) protest graffiti images from the article—figures 1-11 & 13 only (figures 1-3 are considered one image)— and discuss how “revolutionary desire is articulated and interpreted” through them (241). (At least 125 words

The following is a study of global hip-hop from 2008. According to the authors, their “findings identify commonalities among members of the hip-hop Diaspora and suggest that the core essence of hip-hop is shared by marginalized groups. [Their] data also illustrate that hip-hop is malleable and is adapted to speak to members of multiple national cultures, and localized socioeconomic and political conditions: hip-hop youth culture is glocalized.”

Carol M. Motley is an Associate Professor, Department of Marketing, Industrial Distribution and Economics, University of Alabama at Birmingham.

Geraldine Rosa Henderson was an Associate Professor of Marketing at Loyola University Chicago’s Quinlan School of Business. She published more than 50 articles, books, or book chapters with a primary research focus on global marketplace diversity and inclusion, including co-authoring the book Consumer Equality: Race and the American Marketplace. She received the 2015 Kinnear Best Paper Award from the Journal of Public Policy & Marketing. See In Memoriam.

Motley, Carol M. and Henderson, Geraldine Rosa. “The Global Hip-Hop Diaspora: Understanding the Culture.” Journal of Business Research, vol. 61, 2008, pp. 243–253.

The article is quite dense and is written in APA style. My Topic Notes highlight key points and quotes.

(2 points) In the section entitled “Hip-hop: commonalities,” the authors discuss how the cover album above from the Italian group Articolo 31 has been "glocalized."

According to the article, in what ways does the image combine traditional American hip-hop signifiers with local Italian ones? (Name at least two American hip-hop signifiers and how they are combined with Italian ones.)

(3 points) In “Ties that bind: collective marginalities” and “Hip-hop is me” the authors propose that global hip-hop speaks to marginalized youth. According to the authors, how did Japanese and Korean young people, and second-generation Turkish youth in Germany use hip-hop as a form of socio-political protest? Discuss their reasons for their rebellion. (At least 60 words)

(5 points) The authors introduce another definition of "glocalization" (i.e., different from the Crothers version) that involves a three-step process: appropriation, adaptation, and authenticity. Briefly define each—appropriation, adaptation, and authenticity—and provide one example from the article for each. At least 35 words for each.

John Lie (pronounced "Lee") was born in South Korea, grew up in Japan and in Hawaii, and attended Harvard University where he received A.B. in Social Studies and Ph.D. in Sociology. Currently he is C.K. Cho Professor of Sociology at the University of California, Berkeley.

Lie's main scholarly interest is social theory. After working on a reconceptualization of "markets," he sought to rethink the categories of modern peoplehood—race, ethnicity, and nation—which was published as Modern Peoplehood (Harvard University Press, 2004). He is currently working on a systematic work of social theory, tentatively entitled The Consolation of Social Theory. In addition, he is completing a series of books on topics that have bedeviled him: violence, democracy, and the modern (global) university. He also serves on the editorial board of over a dozen journals.

From https://sociology.berkeley.edu/faculty/john-lie

For an accessible version, please read the chapter in the eBook online at the Emerson library: https://ebookcentral.proquest.com/lib/emerson/reader.action?docID=1711046

Lie, John. K-Pop: Popular Music, Cultural Amnesia, and Economic Innovation in South Korea. University of California Press, 2014. Chapter Two: Seoul Calling: “The Age of K-Pop” (PDF version pp. 1-17) on-line version, pp. 122-38 & “The Aesthetics, Branding, and Character of K-Pop,” (PDF pp. 18-28) on-line version, pp. 175-85.

In the chapter, there are many Korean names and terms that have been transliterated. Please see the GLOSSARY below for help in understanding them.

(4 points) Gender dimorphism is a distinguishing feature of K-Pop (hence the emphasis on single gender groups). According to the author, how are K-Pop stars supposed to look (faces, bodies, etc.)? What physical characteristics for male-identifying and female-identifying performers are valued in K-Pop culture? Describe both. What is meant by “the valorization of the visual"? (At least 75 words)

(2 points) The author explains how South Korea’s success at exporting K-Pop to Japan was due to J-Pop. Why? How does K-pop differ from J-Pop? (At least 40 words)

(4 points) In "The Aesthetics, Branding, and Character of K-Pop" section of the reading, Lie explains how K-Pop contradicts what he describes as the “European romantic ideal." What is the "European romantic ideal"? How does K-Pop contradict it? What does this have to do with “authenticity" ? (At least 100 words) GLOSSARY

ch’anggŭk

ch’angga

yuhaengga (also known as "trot")

post–Sŏ T’ae-ji wa Aidŭl phenomenon (group)

Cho Sŏng-mo (ballad singer)

Japanese "idol"

Korean "idol"

Dr Jonathan Matusitz is an Associate Professor in the Nicholson School of Communication at the University of Central Florida. His academic interests include globalization, intercultural communication, popular culture, organizational communication and communication & technology.

Pam Payano was a Research Assistant in the Nicholson School of Communication at the University of Central Florida. Her academic interests focused on intercultural communication, popular culture, visual communication and globalization.

Abstract

This article examines significant evidence of recent Bollywood influence on the Western movie industry, particularly Hollywood, and explores the implications of such developments in the context of globalisation. Within the ongoing globalisation of entertainment, a process that does not automatically lead to cultural Westernisation and uniformisation, Bollywood has by now become both a symbol of Indian cinema’s circulation all over the world and the embodiment of non-monolithic globalisation. Bollywood is evidently not a homogenising influence that forces non-Indian cultures to embrace its cinematographic or musical norms and practices. Rather, it creates new hybrids. The article offers a framework for explaining the growing cultural and

economic changes and movements of such non-hegemonic spreading of popular culture and identifies future agenda for research.

Matusitz, Jonathan and Payano, Pam. “Globalisation of Popular Culture: From Hollywood To Bollywood.” South Asia Research, vol. 32, no. 2, 2012, pp. 123–138.

(5 points) In the section “Bollywood: A Descriptive Overview,” the authors describe the characteristics of a Bollywood film. List at least five (5) such features (aesthetics, plot, etc.) using quotes from the text to support your answers. (At least 20 words each)

(2 points) According to the reading, how are Bollywood and Hollywood joining forces? Name at least two (2) ways.

(3 points) Why do the authors think that Bollywood does not “symbolise a homogenising influence forcing non-Indian cultures to adopt its cinematographic and musical norms and practices” (133)? (At least 75 words)