Cultural fusion is the process of integrating new information and generating new cultural forms. Cultural fusion theory recognizes the world as a churning information environment of cultural legacies, competing and complementing one another, forming novel cultural expressions in all aspects of life, including music, cuisine, pedagogy, legal systems, governance, economic behavior, spirituality, healthcare, norms of personal and interpersonal style, family structures, and so forth. This is a process of pan-evolution, involving countless channels, not merely two cultures coming together to form a third, hybrid culture. During this process the traditional pace and form of change is itself changing. Cultures are also transformed as a result of the churning process of an emergent global semantic field generated by countless networked exchanges.
Eric Mark Kramer
Central to many definitions of the term “cultural imperialism” is the idea of the culture of one powerful civilization, country, or institution having great unreciprocated influence on that of another, less powerful, entity to a degree that one may speak of a measure of cultural “domination.” Cultural imperialism has sometimes been described as a theory, especially where scholars build a case that the cultural influence of the stronger entity has had a pervasive, pernicious impact on the weaker. The term evolved from 1960s neo-Marxist discourses within cultural, media, and postcolonial studies that contextualized the post–World War II “independence” wave of new nations emerging from colonial servitude. It was propelled by the writings of nationalist revolutionaries, revolutionary theorists, and their sympathizers of the 1950s and 1960s, but it has sweeping relevance across human history. The foremost western theorist of cultural imperialism in the West was Herbert Schiller. The concept was adopted and endorsed in the 1970s by both UNESCO and the Non-Aligned Movement. Following Oliver Boyd-Barrett, the concept may denote a field of study embracing all relationships between phenomena defined as “cultural” and as “imperialism.” These encompass cultural changes that are (1) enforced on a weaker entity and (2) occur within both stronger and weaker entities through contact, contest, and resistance, including (3) assimilation of social practices encountered by the stronger in the weaker entity, and (4) original hybrids manifesting cultural traces of both stronger and weaker entities. The concepts of cultural and media imperialism were much critiqued during the 1980s and 1990s, and many scholars preferred alternative concepts such as globalization and cultural globalization to analyze issues of intercultural contact, whether asymmetrical or otherwise. John Tomlinson critiqued the concept, identified four different discourses of cultural imperialism, and argued in favor of its substitution with the term “globalization.” Mirrlees has placed Tomlinson’s work in context by describing the dialectical—parallel but mutually aware—development of both a cultural imperialism and a cultural globalization paradigm. Both are influential in the 21st century. “Imperialism” commonly references relations of conquest, dominance, and hegemony between civilizations, nations, and communities. “Cultural imperialism” relates primarily to the cultural manifestations of such relations. Culture and empire relate in many different ways, fueling different theories that often play on dichotomous discourses, including territorial/non-territorial, totalistic/partial, benign/malign, ephemeral/perpetual, superficial/essential, voluntary/involuntary, intended/unintended, welcome/unwelcome, forceful/peaceful, noticed/unnoticed, linear/interactive, homogeneous/heterogeneous, and acceded/resisted. The concept has affinities with hegemony, the idea that stability in conditions of social inequality is achieved not mainly by force but by securing the consent of the masses (starting with co-option of their indigenous leaders)—through persuasion and propaganda—to the elite’s view of the world. This process is commensurate with forms of democracy that provide the appearance but not the reality of choice and control. Fissures within the ranks of the elites and within the masses create spaces for resistance and change. Culture encompasses the totality of social practices of a given community. Social practices are manifest within social institutions such as family, education, healthcare, worship, labor, recreation, language, communication, and decision-making, as well as their corresponding domains. Any of these can undergo change following a society’s encounter with exogenous influences—most dramatically so when stronger powers impose changes through top-down strategies of command and influence. Analysis of cultural imperialism often incorporates notions of media imperialism with reference to (1) print, electronic, and digital media—their industrialization, production, distribution, content, and capital accumulation; (2) cultural meanings that media evoke among receivers and audience cultures; (3) audience and media interactions in representations of topics, people, and ideas; and (4) relationships between media corporations and other centers of power in the reproduction and shaping of social systems. Media are logically subsumed as important components of cultural imperialism. Yet the significance of media can be understated. The concept of mediatization denotes that “knowledge” of social practices draws heavily on media representations. Social practices that are experienced as direct may themselves be formed through exposure to media representations or performed for media. Discourses of cultural imperialism speak to major current controversies, including: cultural suppression and genocide; ideas of “globalization”; influential economic models of “capitalism” and “neoliberalism”; ideologies that are embedded in the global spread of concepts such as “modern,” “progressive,” “growth,” “development,” “consumerism,” “free market,” “freedom,” “democracy,” “social Darwinism” and “soft power”; cultural specificity of criteria and procedures for establishing “truth”; instrumentalization for the purposes of cultural conquest of academic disciplines such as psychoanalysis, economics, social anthropology, or marketing, or environmental crises, especially as linked to western ideologies that underwrite humanity’s “right” to dominate nature.
The public sphere is a social entity with an important function and powerful effects in modern, democratic societies. The idea of the public sphere rests on the conviction that people living in a society, regardless of their age, gender, religion, economic or social status, professional position, sexual orientation, ethnicity, race, or nationality, should be able to publicly express their thoughts, ideas, and opinions about issues that matter to them and impact their lives. This expression should be as free as possible in form and function and should operate through means and methods that people themselves deem suitable, so not via channels that are official or state-sanctioned. The classic Habermasian idea of the public sphere is that it is used by private individuals (not officials or politicians) who should be able to converse with each other in a public-spirited way to develop opinions that impact state or public-body decisions and policies. Also contained within this classic idea is the conviction that public sphere conversations should be rational (i.e., logical, evidence-based, and properly motivated and argued using an acceptable set of rhetorical devices) in order to convince others of the usefulness of a position, statement, or opinion. In commonsensical, political, and journalistic understandings, the public sphere is a critical component of a democracy that enables ordinary citizens to act as interlocutors to those who hold power and thereby hold them to account. As such it is one of the elements whereby democracy as a system is able to claim legitimacy as the “rule of the people.” Journalism’s imbrication in the social imaginary of the public sphere dates back to 17th- and 18th-century Europe when venues like coffee houses, clubs, and private homes, and media like newspapers and newsletters were being used by a mixture of gentry, nobility, and an emerging middle class of traders and merchants and other educated thinkers to disseminate information and express ideas. The conviction that journalism was the key vehicle for the conveyance of information and ideas of public import was then imbedded in the foundations of the practice of modern journalism and in the form exported from Western Europe to the rest of the world. Journalism’s role as a key institution within and vehicle of the public sphere was thus born. Allied to this was the conviction that journalism, via this public sphere role and working on behalf of the public interest (roughly understood as the consensus of opinions formed in the public sphere), should hold political, social, and economic powers to account. Journalists are therefore understood to be crucial proxies for the millions of people in a democracy who cannot easily wield on their own the collective voices that journalism with its institutional bases can produce.
For millennia, the idea that rituals create a shared and conventional world of human sociality has been commonplace. From common rites of passage that exist around the world in various forms (weddings, funerals, coming-of-age ceremonies) to patterned actions that seem familiar only to members of the in-group (secret initiations, organizational routines), the voluntary performance of ritual encourages people to participate and engage meaningfully in different spheres of society. While attention to the concept was originally the purview of anthropology, sociology, and history, many other academic disciplines have since turned to ritual as a “window” on the cultural dynamics by which people make and remake their worlds. In terms of journalism studies in particular, the concept of ritual has been harnessed by scholars looking to understand the symbolic power of media to direct public attention, define issues and groups, and cause social cohesion or dissolution. Media rituals performed in and through news coverage indicate social norms, common and conflicting values, and different ways of being “in the world.” The idea of ritual in journalism is accordingly related to discussions around the societal power of journalism as an institution, the ceremonial aspects of news coverage (especially around elite persons and extraordinary “media events”), and the different techniques journalists use to “make the news” and “construct reality.” Journalism does more than merely cover events or chronicle history—it provides a mediated space for audiences and publics that both allows and extends rituals that can unite, challenge, and affect society.
Sara Ahmed is a feminist philosopher specializing in how the cultural politics of language use and discourse mediate social and embodied encounters with difference. She has published field-shaping contributions to queer and feminist theory, critical race and postcolonial theory, affect and emotion studies, and phenomenology. Since the publication of Differences that Matter: Feminist Theory and Postmodernism in 1998, her work has epitomized the value of contemporary feminist cultural studies to speak to and against the masculinist traditions of continental philosophy. Unequivocally inserting feminist politics into the rarified air of academic theory, it crosses the sexist boundary which corrals feminist thought into the category of “studies” while opposing it to male-authored philosophy—the latter automatically authorized to speak on the social and material “Real.” In doing so, her work sits squarely within discourse-analytical traditions that seek to expose how various epistemic scenes – activism, the media, and academia, to name a few -- sediment false authority on such issues as happiness, utility, and the good. Moreover, in contesting New Materialism’s search for some monist “matter” beneath experience, she traces how those linguistic moves impose insidiously singular concepts of what social “reality” is, and how it unfolds, for real people. As a field, communication studies concerns itself centrally with matters of social influence, scale, and power, such as the electoral effects of political speech, or the ability of a message to morph as it reaches new audiences. Turning a critical eye upon the (re)production of cultural norms and social structure through interpersonal and institutional encounters, Ahmed’s oeuvre explores the discursive logics and speech acts that sediment or transform the social meanings of race, gender, and other differences.