英国论文网：什么是媒体全球化
媒体全球化不能被认为是一个描述其普遍性质的术语。正如Sparks(2000)所指出的那样，媒体没有真正反映其全球性质的来源或维度。所谓的全球媒体受众，由于其包容性的考虑，是极其丰富和狭小的。很少有证据支持国际公共领域的介入，公共领域存在着大的国家特定取向(Waisbord, 2013)。不容否认的事实是，每一种全球化趋势都是在国内和国际大众传播媒介的协助下得到保证的。媒体全球化在传媒业的模式中高度渗透，突出了创造和组织媒体的方式。世界已经成为高度资本主义的基础上，综合市场或经济的市场。专家对国家的压力对于确保媒体商业化至关重要，在广告的支持下，媒体的商业化特别关注客户(Goonasekera et al.， 2013)。
这对于将拥有政府正式所有权的电信公司私有化来说，是至关重要的。因此，这种快速的变化对辛普森和《老友记》等媒体节目的直接喜好和评分产生了深远的影响。大多数国家都在增加杂志、音乐作品和专辑、电视节目和节目的数量。然而，如果这些都是借鉴日本、英国或美国的流派理念和模式，那么媒体的民族产品似乎或多或少是全球化的(Reese, 2010)。例如，即使一个国家的肥皂剧将高度反映当地文化的角色和情节，它仍然是有用的高露洁-棕榄和其他组织。这些公司在一个完全不同的国际市场上销售汤。正如Robertson(1995)所述，这些反映了当地和全球产品的结合，并与全球的思想和形式保持一致。
英国论文网：什么是媒体全球化
Media globalization cannot be considered as a term depicting its universal nature. As argued by Sparks (2000), there is no source or dimension of media genuinely reflecting its global nature. The so-called audience of global media is extremely rich and small for its inclusive consideration. There are few evidences supporting the involvement of international public sphere and there is large state specific orientation across the public sphere (Waisbord, 2013). There is no denial in the fact that each and every globalizing trend is ensured by the assistance of mass media domestically and internationally. Media globalization is highly pervasive across the models of media industry, highlighting the ways to create and organize media. There world has become highly capitalist based on integrated market or economics of the marketplace. The pressure on countries by experts is crucial for ensuring the commercialization of media, under the support of advertisement, focuses specifically upon customers (Goonasekera et al., 2013).
This is further ahead crucial for privatizing companies of telecommunication with formal ownership of the government. As a result, the rapid changes have profoundly affected way beyond the immediate preferences and rating of media shows such as Simpson’s and Friends. Majority of the nations have been producing increased number of magazines, music pieces and albums, and television programs and shows. However, if these are produced by drawing upon the genre ideas and models of Japan, Britain or USA, the national products of media appear to be more or less globalized (Reese, 2010). For example, even though a national soap opera will highly reflect local culture within its characters and plot, it is still useful for Colgate- Palmolive and other organizations. These are the companies selling soup in a complete different dimension of the international market. As stated by Robertson (1995), these reflect the combination of local and global productions done in alignment with global ideas and forms.