Estudia

1. UNIT 1: FOUNDATIONS OF MEDIA GLOBALIZATION, MEDIA POWER AND DIGITAL CAPITALISM

          1.1. What is Media Globalization?

          1.2. Global Media Structures: Ownership, Conglomerates and Media Moguls

          1.3. Digital Capitalism, Platforms and Curatorial Power

2. UNIT 2: REGIONAL MEDIA PERSPECTIVES – AFRICA, ASIA & LATIN AMERICA

          2.1. Africa I: From colonial images to the Arab world and Nollywood

          2.2. Africa II: Music as revolutionary weapon

          2.3. Latin America I: Zapatismo, El Salvador, Nicaragua

          2.4. Latin America II: Music and films revolution

          2.5. Asia I: K-Pop, Manga, sushi and the Construction of the “Other”

          2.6. Asia II: Turkey and Iran

3. UNIT 3: MEDIA AND CONFLICT

          3.1. Heroes or villains?

          3.2. Censorship, Surveillance, and Repression

          3.3. The Role of Civil Society and NGOs in Media Conflicts

• Ritzer, G. (2004). Globalization, culture, and globalization of nothing. In J. Lichtenstein (Ed.), Continuing the revolution? New world cultural studies (pp. 115–135). . Rowman & Littlefield. Recuperat , a https://openworks.wooster.edu/blackandgold/6
• Appadurai, A. (1996). Disjuncture and difference in the global cultural economy. In Modernity at Large: Cultural Dimensions of Globalization. (pp. 27–47). . University of Minnesota Press.
• Barker, C. (1999). Paradise: The exhibit as artifact. In Fashioning Cultures: The Poetics of Exhibiting (pp. 17–41). . Melbourne University Press.
• Chakravartty, P. & Silva, Y. (2012). Postcolonial media studies. In L. Parks & S. Kumar (Eds.), Planet TV: A Global Television Reader (pp. 418–436). . NYU Press. Recuperat , a https://nyupress.org/9780814760694/planet-tv/
• Thussu, D. K. (2007). Media on the Move: Global Flow and Contra-flow. . Routledge.
• Zuboff, S. (2019). The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power. . PublicAffairs. . Recuperat , a https://arielsheen.com/wp-content/uploads/2018/03/Media_On_the_Move.pdf Catàleg
• Haynes, J. (2011). African cinema and Nollywood: Contradictions. . Situations, 4(1), 67
• Frermann, L., et al. (2023). Conflicts, Villains, Resolutions. Proceedings of ACL 2023.
• Milan, S. (2013). Social Movements and Their Technologies. . Palgrave Macmillan. . Recuperat , a https://firstmonday.org/ojs/index.php/fm/article/view/10720
• Rodríguez, C. (2001). Citizens’ Media and the Voice of the People. . Hampton Press. Recuperat , a https://arxiv.org/abs/2108.09952

Activitats d'avaluació:

This course includes a single final evaluation composed of two activities: a written exam (80%) and the production of a short video (20%). The written exam will assess the student’s understanding of key theoretical concepts, critical thinking skills, and ability to apply course content to real-world or case-based scenarios. Clarity of argumentation, proper structure, and the appropriate use of academic sources will also be taken into account. The short video should demonstrate the student’s capacity to communicate core ideas from the course in a concise and engaging way. Originality, relevance of the content, and basic technical quality (editing, sound, and structure) will be part of the assessment. Both components must be completed in order to obtain a final grade.

In this subject the use of AI is allowed only for: grammar checking, translation purposes, initial search of bibliography. That is, in general, for mechanical non-creative tasks. The final work must be written by the student. In case of doubt, ask the teacher. In any case, the permitted use of AI must be explicitly recognized as bibliography and cited in the work (For example after a text in the document where you have used AI to translate you could say: (Translated from Catalan with the help of Chatgpt 2026)). Additionally, you must have a disclosure section at the end, stating the use/not use of AI and for which purposes this use is. That means also marking which sections / paragraphs AI is used. Any other use, or not recognizing the use (any use, even the permitted ones), will lead to fail the exercise. Note: Where the teaching staff has doubts about the authorship of any assessed work, the student may be called to attend an in-person or synchronous interview (which may be recorded), in order to verify their

knowledge and competences and confirm the authorship of the work. If authorship cannot be confirmed, the assessment will receive a failing grade.

Criteris específics de la nota «No Presentat»:
The grade of "Not presented" will be assigned to students who do not attend any of the partial exams

Avaluació única:
Exam (80%)
Short Video (20%)

Requisits mínims per aprovar:
A minimum grade of 5 is necessary to pass the subject.

Students may request guidance via Moodle or email. Guidance can be used to:

- Clarify concepts
- Expand information
- Discuss the assignments
- Discuss the grades

Guidance sessions may be online or face-to-face, upon agreement
You can contact me through my email:
sebastian.ruiz@udg.edu

Messages and announcements addressed to students will be delivered through the messaging tools in the Moodle platform.

Students can use instant messaging tools on the same platform or email to communicate with lecturers.