Within the first 20 minutes of the film “Sleep Dealer”
viewers are thrust into the complex frameworks of a glocal economy that exists in the small border town of Santa Ana Del Rio, Mexico, sometime in the not too distant future.( all based on the clothing of the actors, especially the appearance of denim jeans and jackets that screams "hacker") Even before getting into the plot of the film the audience is deep in a multi layered narrative that spans generations and politics.
Memo Cruz lives his life straddling his nations past and future.
From "Disjuncture and Difference in the Global Cultural Economy"
From "Disjuncture and Difference in the Global Cultural Economy"
"States find themselves pressed to ‘stay open’ by forces of media, technology , travel which have fuel consumerism throughout the world, for new commodities and spectacles. On the other hand these very ethnoscapes, mediascapes and ideoscapes, such as ‘democracy in China, that the state cannot tolerate as threats to its control over ideas of nationhood and ‘peoplehood’."
Even before Memo leaves Santa Ana Del Rio to find work in Tijuana, there are hints at the frameworks that Arjun Appadurai argues exist beyond our actual communities.
(ie.. Memo's brother is obsessed American Hi-Def (i think its hi def) and we get a glimpse into the global techno and mediascape that surrounds this small town)
In Appadaruai's reading explains that global economy is complex, overlapping, "which cannot any longer be understood in terms of existing center-periphery models" --"nor is it susceptible to simple models of push and pull" or "of surpluses and deficits" and he breaks down five frames works should be considered in today's global cultural economy
Ethnoscapes, MediaScapes, technoscapes, finanscapes and ideoscapes.
What all the weeks readings Thrifts "Movement-Space," and the earliest Granovetter's "The Strenghth of weak ties" suggest is that in order to understand how global economies and networks actually work, there's a necessity to approach each situation knowing of the disjunctures, weaknesses and shifts in global economic trends and to throw out the idea of a predictable model.
Even before Memo leaves Santa Ana Del Rio to find work in Tijuana, there are hints at the frameworks that Arjun Appadurai argues exist beyond our actual communities.
(ie.. Memo's brother is obsessed American Hi-Def (i think its hi def) and we get a glimpse into the global techno and mediascape that surrounds this small town)
In Appadaruai's reading explains that global economy is complex, overlapping, "which cannot any longer be understood in terms of existing center-periphery models" --"nor is it susceptible to simple models of push and pull" or "of surpluses and deficits" and he breaks down five frames works should be considered in today's global cultural economy
Ethnoscapes, MediaScapes, technoscapes, finanscapes and ideoscapes.
What all the weeks readings Thrifts "Movement-Space," and the earliest Granovetter's "The Strenghth of weak ties" suggest is that in order to understand how global economies and networks actually work, there's a necessity to approach each situation knowing of the disjunctures, weaknesses and shifts in global economic trends and to throw out the idea of a predictable model.
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