Chapter II Literature Review 2.

1 Introduction
This literature review is based on the analysis of cultural globalization and its prevalence models in global cultural industry. The second portion of the review presents the overview and comparison of Chinese and American animation industries.

2.2 Cultural globalization

Rothkop (1997: 38) states that the globalization has financial bases and many politically concerned values, but it does the job of bringing attention onto the power of traditions in our overall environment. In a written piece by Boli and Lechner (2002), it was pointed out by them that the whole magnitude of global traditions is basically ruled over by America, and that the famous American cultures and products like fast foods, rock music, Hollywood music etc., increase and multiply throughout the whole world and the whole globalization of choices advertise identity model in all ways. It is probable that todays culture globalization comes because of the different ways of strong communication all throughout the countries. Crane (2002) believes that cultural globalization is divided into three main structures which are cultural expansionism, cultural reaction, and cultural current.

2.1.1

Cultural imperialism/homogenization model

This model sees globalization to be a sort of risk to the nationwide distinctiveness and also to the form of the folkloric culture, as said by Crane (2002). It is in its belief that the current of various products, nation and messages all come from the Earths central areas, specifically from USA to

the sideline areas like the Third World states. And because of this one way current, the power and rule goes over to some specific culture. As per Acheson (2003), the expanded trade of national things has also resulted in expanded national uniformity. Many inquiries have been brought up, like if the national individualities will be indistinct within the upcoming generations and how the worldwide businesses will be advanced. With accordance to the experimental researches of this model, it is seen the importance of national uniformity is earnestly pondered over among the cultural area through the states. With accordance to the national manufacturing, if we take the Chinese animatronics business as an example, the talk concerning whether the regular trade in animated products will even out the cultural distinctiveness of the Chinese youth is very heavily debated on. 2.1.2 Traditional Flow Model Not like the traditional uniformity model, this model recognizes the procedure of national broadcasting in two-way currents rather than a one-way current, which as told by Crane (2002), is more probable to have traditional hybridization as the result. So, when it comes in the light of worldwide traditional impact, the west isnt just a player, because the populations of the outside areas are active in their meetings with foreign traditional goods. Today, there are found to be many Third World states which are exercising a strong traditional impact all over the world.

2.1.3

Cultural reception model

As stated by Crane (2002), this response model mentions about the direct response and not the indirect response of people of the mass media productions. This theory is supportive and encouraging of multi-traditionalism and not the traditional expansionism. In his critique, Hollywood Iconography, Michaels (2002) states about how Warlpiri Aborigines of the Western

Central Desert area of Australia are active participants in building the translations of any America/Western movies and TV series they watch but still dont take in to its morals.

2.3 Culture and civilization aspects

The importance of the connections between traditional uniformity, faith, responsibility, trade exhibition and interaction was given by Nes (2007). This research signifies the results of Aaby and Slater (1989) with respect to the devotion participation of the main workers of export businesses to be strongly associated to export successes. For the advancement of this, devotion, interaction and confidence are known to be important elements. Hence, the insights of the exporters on traditional varieties producing interactive interferences are the chief elements for the devotion, as debated by Nes et al. (2007). On the topic of accommodating with informative differences in the global business in this complex era, a much explained clarification has been provided by Hofstede (2001). For the advancement of literature base reports, researching plays a significant act received from the numerous traditions on the foundation of their viewpoint and arrangement. This was the notice given by Martinsons and So (2005) in studying the works. Barrett and Rainnie (2005) believe that for there to grow a tradition in small businesses, mixing and interaction amid the sectors and the staff is vital and it can be complete by the internet and creating steady connections through interaction. But, it cannot be said that it is easy to do so. It can be found to be a complicated task for the managers to cultivate such a culture. To be a culturally expanded business can prove to be extremely convenient and beneficial in the way of development. The need to develop worldwide was also felt by UN (2005). Various viewpoints and concepts are beneficial for the business to

take effectual plans so as to contemplate broadly and even on precarious features. It is important to perceive variously to transact with people differently.

2.3.1

Chinese Cultural Aspects

The Chinese have strong faith in networking, creating steady connections, increasing social associates and personal references (PR), which helps reach common profits for both the parties. This notion of theirs is briefed into one word as guanxi. The Chinese firstly create connections to do their business and then secondly they keep a firm belief in keeping their commitments steady for a long time. We call them guanxi, which are all the efforts that have advanced into a pledge of trust. Lee and Dawes (2005) say that creating a steady association may prove to be complex in the firms where only resources are swapped. It is stated by Leonidou (2002, p. 103) while clarifying the significance of a steady and long-standing connection in an export firm that, trade procedures amid retailing and purchasing firms are not of existence in a vacuum but among a sentimental setting or background. This gives proof that inspiration given by the exporter to the importer in a state portrays an essential role in introducing and also upholding a fresh association between them. Eventually, this will prove to be a huge role in the development of firms and work as an influential tool that encourages the trades globally and takes its part of exhibition as a whole. Overall, it upholds and improves the trades (Leonidou et al. 2002). Although, it is debated by McDaniel and Paul (2004, p. 185) that, the standby for technology is for association that weakens the sentimental connection features of faith and expands the imminence of risks from not being able to reach up to their pledges. Continually, it is stated by Barneset (2002) that it is very important for firms to start contracts with truthful

actions so as to build steady relationships. This will work to also give a rivalling idea into the market by not copying with any of their business competitors.

2.4 Definition of cultural industry

Towse (2003) says that in the middle of the twentieth century, the word traditional business was presented in a way that was judgmental to propose the destruction of the arts by mass traditions. Before defining what exactly cultural business is, it would be fascinating to comprehend the ideas of tradition and business distinctly. Culture, as per the definition given in Collins Cobuild Dictionary (2005:342), contains actions that are vital for the growth of society and of the development of peoples minds. Industry can be taken as the procedure of manufacturing, as per Claude (2004), and also the consumption of skill and expertise, work partition, expansion of manufactures and usage, and lastly, the being of markets for trading products. So, on the foundation of these observed descriptions, it can be clearly seen that these two notions are directed towards totally different areas and are somewhat in contradiction to each other (Claude, 2004).

2.5 Chinese Cultural industry

While a lot of advanced states have taken cultural businesses as their chief suppliers, many states remain who still seem to be undergoing an initial phase. This part will take China to be an example to observe the traditional business in the emerging country. The Chinese traditional business took part in their market since the 90s, as said by Ou Yang, (2006). The cultural division, which is being funded by the federation, has occurred as a government buildup instrument from the time when the formation of the novel Peoples Republic of China.

Those individuals who are having sound party-political contextual are functioning in this domain and cultural utilization has a prolonged period been considered like a society service. Like Ou Yang (2006) mentions, such a governmental system has circumscribed the forthcoming industrialized progress of the cultural industry of China. Though, subsequently to the economic reorganization, because of the transformation of market procedure and also to the cultural consumption raised demand, the cultural industry of China has conclusively started to tread into commercial market and where this industry is being expanded speedily. According to Ou Yang (2006), since then WTO has gained access to it, this incites additional traded in goods, services and capital to move in to the commercial market of China, and develops an immense influence on to the disciplines of national industry, specifically in the discipline of the cultural industry. Even though China has prolonged been recognized as a state with rich chronicle and culture, it seldom has reflective as well as competitive cultural goods within the global market in contrast to the Northern America also its nearby neighbor Japan. Moreover, Keane at al. (2005: 329) highlighted in their report that there exists a scarcity of collaboration in between ingenious inputs and fiscal outputs amongst the cultural industries of China also the cultural segments in China display the dilemma of emerging countries in aiming international markets with great significance -a stress on state cultural distinctiveness limits export focus.

2.6 Introduction to Animation Industry

Among the most leading, dynamic and swiftly emerging cultural diligences in the Earth, Animation is being one of them. As said by Milic and Mc Conville (2006:224) Animation is becoming one of the speediest-developing domains in television and film, as well as it is also essential to the web development and video games. Formerly, animations were intended for kids aged fewer than 10; but, in recent times, the content as well as forms of animations are extended

concerning further different spectators comprising family, adults and teenagers. In the meanwhile, the need for animated production has extended by way of the rise in disseminating times by satellite television and cable in conjunction with the rising fame of the Internet. Right now, USA, Korea and Japan operate an animation threesome governing the market at a global extent. These countries are the worlds topmost three producers of animation and are the maximum profit achievers. This section will primarily present an outline of animation industries within these three states which comprise their recognized animation produces, progress directions, distinctive characters metaphors and government rules. In addition to this, a Chinese animation industry case study will be exhibited. The case study of Chinese animation industry will concentrate on the chronicle, labor market, progress and the government backing regarding the national animation industry of China. Furthermore, several hypotheses will be descended in the completion of this section.

2.6.1

Animation industry in USA

There are eight chief animation producers in USA. These are Dream Work, Disney, SKG, Sony Picture Entertainment, Lucas Film, Warner Brothers, Fox Entertainment Group, Universal Studio and Paramount Pictures. They are incredibly leading in the souk and build the U.S. the Earths greatest animation realm. In this division, the yearly returns go beyond One thousand hundred millions of dollars (Qin, 2006). USA through J. Stuart Blackton created its very first animation in 1907 (Solomon, 1989). This USA animation history has gone through the five phases up to the now (Solomon, 1989). Subsequently departing over an extended growth era, the animation American industry has developed its peculiar characteristics. The stress is chiefly on a fine storyline, bright characters, appealing stories, as well as well melodious background. It specifically gives immense

concentration for depicting the particulars, which seems to be preferred by families. Moreover, mostly the animations of American industry finish off with always happiness and cheerfulness that lasts forever in place of awful ones, which basically satisfy to the emotional and mental need of various audiences. In USA, the animated characters of human beings are extremely close to real life. Whereas, on the other hand animals animated images are not even close to actual life as it is shown in cartoons these days that they have huge heads and appealing faces and it is a recent trend these days. These days the presentation and quality of animation has been greater than ever before because advanced animation and 3 D computer technology together blends really well. America is the pioneer country to introduce animation to the huge global industry and use it as profit making tool and they have also accomplished this creativity to the highest level. There are specialist people in American animation market which means that right people for the right job and absolute production chain. In America, this sector is under top eight animation companies with no individual influence. These eight companies do their own production and work freely as they manage and run their own newspapers, magazines, TV stations and satellite cables. The prime example is Disney as it is the most doing well animation producer in USA and the world. They do animation of well known cartoon characters and also create new animation empire know as Disney Land. It has been a huge success all over the world and has been source of happiness to people.

2.6.2

Chinese Animation industry

Animation Industry has been recognized as a vital industry which could result in boosting Chinese economy and Chinese culture to next stage. During (2004-2005) Chinas Animation industry Report was published and there it was mentioned that animations are high in demand

and can give fruitful results. Animation industry has developed quickly in China especially in current period. The total production of animation locally was nearly 46000 minutes from 1993 till 2003. During 2004, it was 21800 minutes and next year animation production in China was even more. In 2006, there was a huge expansion as the production reached to 82000 minutes. This improvement does not show complete result. The Chinese animation industry earned more than film industry from 2004 till 2005 because of huge demand and less competition. Americans and Japanese made the most out of it as they got more than 80 percent share from animation industry. Well known cartoon characters such as Snoopy, Mickey Mouse Hello kitty earned RMB 600 million from china in a particular year and in this way china became the largest importer of animation products (CAIR 2006).

It was mentioned in the Chinese Cultural Industry Development that the growth of Chinese animation industry has plunged into two loops and they are economics and cultural loops. Animation is a kind of expression which spreads out locally and into the world. America and Japan covered their investment and thus making them extremely successful. Then they decided to enter into international market by adopting low and free pricing strategy as they did in China thus resulting in economic loop. Chinese TV stations dont usually buy locally produced animations as they can buy imported animations at fairly low price. In this way, investors dont get return on their investments and there will be less investment by local Chinese people. It is extremely important for high quality animation production to get handsome money inflow and state support. Local producers in china dont show their innovative work and instead they work international animation companies as imported animations are high in demand and Chinas

industry is not getting its market share due to lack of investment and other factors ( Ouyang, Y.
2006).

Secondly, Economic loop and cultural loop in China are due to imported animations. Chinese people thinking have been changed particularly in last 20 year due to these foreign animations. International style programs are gaining lot of popularity in china as television got the following during late 80s. Chinese people are really fond of international styles and they follow what international stars do. After watching international animation, people of China set very high standard and compare local work with international work.. People from old school of thought still think that animation is only for children and not for older generation (Qing 2006). They ignore the result of international animation on their young generation and because of this young generation is more keen on adopting foreign culture instead of their one. Chinese animation industry has not been able to flourish due to economic loop. It shows that there is huge demand for imported animated products and it also means that in future foreign culture could be a major part of Chinese people. When foreign animation products are available in the market then in future it will change the taste and demand of local people and there will be more consumption of foreign products. As a result poor economic planning may have harmful effects on Chinese animation industry and in future it may also a negative effect on Chinese culture as foreign culture is gaining more popularity Ouyang 2006).

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