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COM3705 PORTFOLIO SEMESTER 2 2022
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NAME:STUDENT NUMBER:
MODULE CODE: COM3705
UNIQUE NUMBER: 848790
ASSIGNMENT NUMBER: 03
DUE DATE: 01 NOVEMBER 2022
1
,DECLARATION OF OWN WORK
I
Confirm that:
This MODULE contains my own, original ideas and work
Those ideas or work, that are my own, have been cited through the prescribed
referencing system which I familiarised myself with in the CMNALL/301
I have not submitted the ideas or work contained in this MODULE for any other
tertiary education credit.
I have read the University’s Policy of Research Ethics
I have read and understood the PLAGIARISM POWERPOINT FOR
UNDERGRADUATE STUDIES (available under ADDITIONAL SOURCE on myunisa)
I have familiarised myself with the library guides ON PLAGIARISM AND EHICS
offered by Unisa’s library: https://lbguides.unisa.ac.za/research
support/plagiarism
I have read and understood Unisa’s Policy for Copyright Infringement and
Plagiarism and I am aware that plagiarism is punishable in terms of the Copyright
Act (Act 98 of 1978) and I have read the regulations of the University of South
Africa in this respect, available online:
https://www.unisa.ac.za/static/corporate_web/Content/Apply%20for%admission/Docum
ents/Policy copyright infringement plagiarism 16November2005.pdf
STUDENT NUMBER:
Signature:
Date: 31 October 2022
Witness:
Date: 31 October 2022
2
,TABLE OF CONTENTS
CONTENTS PAGE
1. INTRODUCTION 4
2. AUDIO-VISUAL PIRACY 4
2.1. Piracy as a threat 4
2.2. Piracy as an underground channel through which cultural globalisation 5
can operate
3. TRISTAN MATTELART’S MAIN ARGUMENTS 6
4. REPRESENTATON OF AFRICA IN WESTERN MEDIA/NEWS/FILM 8
5. RELATIONSHIP BETWEEN THE CURRENT INTERNATIONAL FLOW 10
AND DISTRIBUTION OF FILM AND THE ORGANISATIONAL
STRUCTURE OF HOLLYWOOD
6. CONCLUSION 12
List of sources consulted 14
3
, 1. INTRODUCTION
International communication medium should be regarded as one of the world's most
opulent platforms. The world would come to a halt without the media. According to
Mattelart, the media signifies a transformation of information into a commodity, or a
mirror of society and national life for the sake of status. However, because of the rapid
advancement of media, piracy is sometimes viewed as a threat to Western cultural
industries. As a result, a study about the contrasts between piracy as a threat and
piracy as a possible underground route for cultural globalization is done.
We refer to Mattelarts article, where we discuss the difference between piracy as a
threat and piracy as an underground channel through which cultural globalization can
operate. We briefly explain the relationship between the current international flow and
distribution of film and the organizational structure of Hollywood. The second section
focuses on transnational issues in relation to the international flow of people as a form
of international communication, where we describe and differentiate between tourist-
generating regions and tourist destination regions of the world with examples.
2. AUDIO-VISUAL PIRACY
Piracy includes making illegal copies of copyrighted music, games, software, electronic
books, and movies or streaming that content without permission. To study the field of
piracy, and more particularly that of physical piracy, is to be straightaway confronted
with a significant obstacle, the fact that this field is saturated with the expertise
produced by the main global, above all American, copyright-based industries, or by the
organizations defending their interests. These periodically publish reports aimed at
criminalizing piracy and at reducing the phenomenon to this criminal dimension in
national, as well as in international, fora (Mattelart, 2009; Yar, 2005).
2.1. Piracy as a threat
Piracy poses a greater threat in the digital age because it operates in a setting of
increasing globalisation, which makes it easier to distribute illicit goods. ‘The
globalisation of the economy and the development of international trade have made it
easier for organised piracy networks to emerge and operate across frontiers,' according
to a report by the Paris based Union (Union of manufacturers for the international
protection of industrial and artistic property).
According to the study, these network s are the "evil side of globalisation." However, we
may also consider the fact that digital piracy networks are one of the most common
ways for those who have been left out of globalisation to acquire access to international
cultural commodities. In reality, the informal economy's conduits enable these
individuals to benefit from the digital age's increasing ubiquity of communication
commodities by allowing them to consume the same things as people in large
developed countries, and at a much faster rate.
4
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