Mahmoud M. Galander

Global communication is widely perceived as an instrument to disseminate Western values in the developing world. The “Wheel of Fortune” and “Who Wants to be a Millionnaire” licensed to Malaysian Television stations, though the language and the word puzzles were localised, carried the same format of the original (American) show. They promote consumerism,  gambling and the images of usury, the style of wealth accumulation forbidden in Islam. For the Malaysian audience whose priorities are those of contentment, modesty and humility, such emphasis on material desires breeds internal contradictions that may lead the audience to succumb to the new Western values.

Globalisation has brought back into focus the issue of Western hegemony (or imperialism) which dominated the intellectual scene in the 1970s. With the increasing dominance of global communication technology, the central issue of hegemony is not its political and economic aspects, but rather its cultural dimension.1 Global media play the focal role in such cultural supremacy as they convey and disseminate Western values in all forms and shapes: news, feature programmes, entertainment and advertising. Increased awareness of this situation by Third World countries has led to various forms of regional and bilateral cooperation ventures.

These ventures sought to limit Western cultural dominance by creating regional media markets of producers and consumers that would override the American dominance of the world media market. The West, particularly the United States, sought to fetter such resistance through a policy of rapprochement with the media organisations of the developing world in which the local media are allowed to “localise,” produce and broadcast locally, global shows. Thus, major Western shows and entertainment programmes were granted access to Third World audiences with the consent of the policy makers in these countries, thus reducing, or even eliminating, national inhibitions against Western hegemony and domination.

This study underlines this growing trend of localisation of global media programmes, a trend in which local versions of famous and popular global entertainment programmes (especially game shows) are produced in different countries under specific agreements between the local and global media organisations. In this relationship, the media of the receiving countries agree to broadcast locally produced versions of the programmes owned and distributed by the global media organisation. The paper assesses the development of the trend, and explains its probable impact within the context of media effect theories. An analysis of two programmes that have been licensed to Malaysian television stations provides the substantive evaluation of that impact.

Globalisation and Hegemony: Past and Present

Globalisation was projected by such scholars like McLuhan, who saw in the rapid development of communication technology in the mid sixties, a trend toward transforming the world into a “global village.”2 When the global village became a reality in the 1970s, an imbalance in the flow of media messages between the West and the rest of the world was noticeable. The developing world protested against “Western media imperialism,” the tendency to dominate the communication scene and project Western values to the Third World, thus resulting in the developing world being undermined and people being socialised by the foreign media.

This Western (or more accurately American) media hegemony was widely debated and protested against in the “New World Information and Communication Order” debates in the 70s. Though these debates reached to no concrete outcome, they created a state of awareness among Third World countries, and resulted in the establishment of few forums of cooperation of the developing countries in the field of communication under the auspices of UNESCO. Such cooperation discussions aimed to limit Western and American dominance of the international communication scene through direct cooperation among countries of the Third World. A frustrated US finally withdrew from UNESCO under the pretext that the organisation had become a forum for upholding universal press controls and for curbing the global free flow of information. As the US withdrew, its scholars and professionals promised the world an increased freedom of information flow with the projected development of the information technology. They proclaimed that advances in technology would make the principle of free flow of communication pervade all over the globe despite resistance from the non-Western world.3

The assertion of Western scholars became a reality. The state of the imbalanced flow of information has been further aggravated by rapid advances in communication technology which guaranteed Western media the uncontrolled exposure of world audiences to their messages. Thus, movies, news, music, sports and other entertainment items have become easily accessible by all in most of the world.

This unsurpassed Western media penetration of other cultures and communities, has become a dominant feature of the new technology of communication. The technology (satellite, cable and computer) has empowered the audiences by putting them, alone, in control of the received message. This meant that local authorities were no longer able to censor, obstruct or change the content of the Western media, thus making the relationship between the initiator of the message (the global media organisation) and the receiver (the local audience) a direct one. Under such a situation, the audiences gained total freedom in their choices of exposure to international messages as they decided, based on their values and tastes, what to see and what not to see.

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