The animation industry under globalization

The capitalist system under globalization establishes the legitimacy and value of the cultural symbols behind consumption by relying on the power of consumption. Consumption is actually a structural model of a specific social order that implies people’s social identity. From the perspective of global cultural consumption, the development of the animation industry shows some kind of inevitability and rationality, but the realistic process of globalization is full of paradoxes and even traps. At present, the biggest problem of global cultural consumption is the inequality of cultural production, the unreasonable cultural market, and the unbalanced supply of cultural products. In the process of global cultural consumption, the western developed capitalist countries led by the United States mainly provide consumption resources, while the developing countries are more of the consumer market of cultural products of developed countries, and in many cases are in a passive and affiliated position. This just supports the view quoted above, “the operation and expansion of capital around the world… many economically underdeveloped and weak countries either follow the European and American model or become an ordinary pawn in the modern world”. In the process of the expansion of globalization, the dominant capital countries can constantly adjust their economic and cultural policies to adapt to and adjust the local needs, so as to form an apparent cultural diversity. In essence, the global capitalism and consumerism ideology centered on the western capital powers are firmly in a key position. Since the late 20th century, a great change has taken place in globalization, it mainly has four aspects that are different from the early capitalist globalization: first is the pace and change of speed, followed by what David Harvey said about the concentration of time, space and time, the third is the economic phenomenon of globalization, the fourth is the process of globalization affects the media, politics and culture.” Both finance and production are increasingly controlled by multinational companies, which implement a global positioning and use international discourse.”  “New forms of global mass culture are of course mainly influenced by the United States.”

In the economic and social development in recent years, the capital countries often promote the development of the animation industry and the expansion of the sub-ideology behind it through specific cultural policies. In the view of the scholars concerned, There are four major types of current cultural policy, They represent the United States, European countries, Japan and South Korea, Russia, But whether the most capitalist countries, represented by the United States, the “second Group of developed countries” represented by France, Canada, Finland, the United Kingdom and Australia, or by countries represented by Japan and South Korea, or the countries represented by Russia, In recent years, they have directly or potentially driven the great global expansion of its culture, vigorously promoting ” the global flow of cultural capital, the global transaction of cultural products, the global integration of cultural resources, hence the resulting global conflict and integration of cultural values. The formulation of a country’s cultural strategy is always closely related to its ideology, cultural traditions, and national economy and politics. In recent years, the emphasis on China’s “soft power” connects a country’s cultural strategy with its international strategic deployment. No matter which kind of cultural policy, because all fully realize the “in modern society, spiritual and cultural consumption is not only about the public cultural power, also about maintaining the national cultural tradition and national security content”, so the cultural strategy, for a country, deeply linked to the whole of the national policy and national development strategy. For example, the “cultural exception” in France directly considers “cultural products” and “cultural services” combined with values. From the slogan of “cultural exception” to “cultural diversity” goal, “from the field of trade to ideology, from the market to the values, this is France in the new century in order to adapt to the globalization strategy in cultural policy adjustment, under the pressure of the American cultural hegemony has practical significance, and also is the concentrated embodiment of national nationalism”.

An objective and effective strategy is that in the animation industry, it should be reasonable to reference foreign cultural concepts, the moderate use of transnational cultural capital, the mining of local culture and inheritance, the effective innovation of the existing culture, to ensure that the global context of the animation industry is both world competitive, and the important strategy with its own characteristics.

In the current social and economic reality situation, it is not appropriate to simply regard the animation industry as “artistic behavior” or “economic behavior”. The development of the animation industry under the background of globalization not only benefits from the cultural integration and complementarity brought about by globalization, but also suffers from the expansion of the global culture. In the field of the animation industry, the “discourse hegemony” is produced due to the worldwide market competition, and the vigilance and resistance to the “discourse hegemony” of the animation industry have also come therefrom. The global competition and “discourse hegemony” of the animation industry no longer evolve with an obvious ideology, but are promoted through a more hidden sub-ideology. The sub-ideology in the animation industry mainly takes the aesthetic way as its form of expression. At the same time, “capital-state” promotes the global expansion of the sub-ideology behind the aesthetic in the animation industry through cultural policies. In this regard, we should not simply exclude and cancel the international integration and competition of the animation industry, but should reasonably draw lessons from foreign cultural ideas and concepts, make appropriate use of transnational cultural capital, and explore and inherit local culture. This is an important strategy to ensure that the animation industry is both world competitive and has its own characteristics in the context of globalization.




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