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Global Media Ecologies : Networked Film and TV Production and the Interactive Audience

Media producers, broadcasters, private investors, digital content developers and government agencies are increasingly linked through the collaborative development of film and television programs. In the 1990s, changes to media industries in the form of privatization, deregulation and trade liberalization laid the basis for production ecologies, which network producers, labour and governments into a web of interdependencies that follows the beat of international commerce. Neo-liberal reforms, combined with the convergence of media industries, new digital technologies and the ubiquity of infotainment therefore underscore the popularity of global production technologies such as co-production and format franchising. Media globalization is not a new phenomenon, but has occurred throughout history during ‘bursts’ of economic activities, following the invention of new technologies, such as the Gutenberg press, or the need to control investments in colonized regions (i.e. the introduction of telegraphy in Cuba to control the local sugar industry) (Baur, 1994), or to streamline the flow of information through international wire networks during World War I and World War II (Ward, 1989; Robertson, 1992). However, globalization, defined as the growing interdependence between economic, cultural and political spheres (Giddens, 1990), has accelerated to the point that boundaries between these domains are increasingly blurred or are, in many instances, synonymous. Keane (2003) refers to a ‘turbo’ capitalism that differentiates itself from former globalization trends through an accelerated mechanism to move finance, goods, labour and services across international borders, which is greatly facilitated by digital technologies.