The Reflection


Through the duration of the BCM288 course, Transnational Media and Culture Industries, I have been able to reimagine and mould my understanding of film and television within a culturally driven industry. I have developed a key understanding of the processes that are associated with the development of television and film as well as having the ability to apply this knowledge to everyday examples. By gaining knowledge and depth about the differences and similarities across borders and overseas has lead the development of television and film to be greatly explored in each of my blog posts as well as in the various assignment tasks. There was a lot covered within this subject but the few topics that really stood out to me are as followed below, these were the topics that helped me understand Transnational Media and Culture Industries on a deeper level.

There was a lot I was oblivious about when it came to the development of film and television in terms of the government support for the media industry. The media industry lacks a great deal of funding from the government, especially in Australia, as clearly seen in the Department of Communication and Arts document on funding to the Arts, which develop polices to deliver “programs that encourage excellence in the arts, help to protect our cultural heritage and support public access to and participation in, arts and culture in Australia”. Being compared to that of the British government and their support of the media industry, it almost seems that Australia is a couple of steps behind, though is trying to catch up and provide more support in our schools to help promote the media industry of Australia. This leads nicely into the work of co-production, Australia does a lot of work with other countries to create big named cinematic films.

Throughout the weeks I have learned the connections needed to produce a films especially in terms of co-productions amongst countries. Though these types of films can be turned into great cinematic films there are often many setbacks and disadvantages of the concept closely linked to cultural identity. These are often found with a country’s national identity not being showcased through the film at any means “concerning the character of the program and the creative talent employed” as well as the “cultural integrity of the program produced is undermined”. (McFadyen, Hoskins and Finn, 1998). Apart from behind the camera with the works of editors, writers, producers and directors, as seen with the cinematic adaptation of The Great Gatsby, film in Australia but based on the American culture and novel of F. Scott Fitzgerald.

The main thread between all the lectures throughout the course was the differences and similarities within each individual culture and how these reshape the entertainment we see. The translation of comedy was extremely interesting to me, coming from Britain myself, I do find the level of humour does differ between cultures and therefore within television does has an impact on the styling’s of each individual character. Different cultural aspects in individual countries does mean that changes to characters, settings or storylines must be altered to fit the styling’s of the culture and people of the country, who see certain situations in a different light. This was particularly evident in the re-adaptation of ‘The Office’, in Britain, America, Germany and Australia, which the show has been readapted to ‘Utopia’. A prime example, which highlights the change in comedic elements to fit the views of particular countries.

This video also showcases how popular television shows have been adapted to the cultures of different countries especially that of Britain and America.

I believe my understanding of transnational media and culture industries has been expanded to all areas of the media industry from the cultural aspects of the industry to its technical developments.


Australian Government 2016, ‘Department of communication and the Arts’, viewed 28th October 2016 <;

McFadyen, S, Hoskins, C and Finn, A 1998, ‘The Effect of Cultural Differences on the International Co-production of Television Programs and Feature Films’, Canadian Journal of Communications, vol. 23, no. 4 <>


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