Popular Culture And Foreign Policy

This is a necessary and urgent read for anyone concerned about the United States' endless wars. Investigating multiple genres of popular culture alongside contemporary U.S. foreign policy and political economy, Imperial Benevolence shows that American popular culture continuously suppresses awareness of U.S. imperialism while assuming American exceptionalism and innocence. This is despite the fact that it is rarely a product of the state. Expertly coordinated essays by prominent historians and media scholars address the ways that movies and television series such as Zero Dark Thirty, The Avengers, and even The Walking Dead, as well as video games such as Call of Duty: Black Ops, have largely presented the United States as a global force for good. Popular culture, with few exceptions, has depicted the U.S. as a reluctant hegemon fiercely defending human rights and protecting or expanding democracy from the barbarians determined to destroy it.

Political culture refers to the basic values, ideas, beliefs and political orientations by which countries, societies, and whole regions are guided. The underlying belief systems that shape cultures and societies and cause them to behave in certain, often distinct ways. The puzzle or query that chiefly concerns this author is why the United States (US) and its foreign policy have such a hard time understanding cultures and societies other than their own. This provocative book argues that the US needs to end its attitudes of superiority and condescension toward other nations and cultures and redirect its foreign policy accordingly. After an introduction that sets forth the main theoretical and conceptual arguments, the next chapters explore all the main areas of the world. The Conclusion pulls all these themes together, analyzes the common patterns that emerge, and suggests new directions for U.S foreign policy.

The term soft power describes a country's ability to get what it wants by attracting rather than coercing others--by engaging hearts and minds through cultural and political values and foreign policies that other countries see as legitimate and conducive to their own interests. The concept was introduced by Joseph Nye, former Assistant Secretary of Defense for International Security Affairs, who wrote the Foreword for this book. The book analyzes the soft power assets of the United States and Japan, and how they contributed to one of the most successful, if unlikely, bilateral relationships of the twentieth century. Sponsored by the U.S. Social Science Research Council and the Japan Foundation's Center for Global Partnership, the book brings together anthropologists, political scientists, historians, economists, diplomats, and others to explore the multiple axes of soft power that operate in the U.S.-Japanese relationship, and between the United States and Japan and other regions of the world. The contributors move beyond an either-or concept of hard versus soft power to a more dynamic interpretation, and demonstrate the important role of non-state actors in wielding soft power. They show how public diplomacy on both sides of the Pacific--bolstered by less formal influences such as popular cultural icons, product brands, martial arts, baseball, and educational exchanges--has led to a vibrant U.S.-Japanese relationship since World War II despite formidable challenges. Emphasiszing the essentially interactive nature of persuasion, the book highlights an approach to soft power that has many implications for the world today.

Experts analyze the effect of cultural interests on the foreign policy of states in the Caspian region, including Iran, Azerbaijan, Armenia, Georgia, Afghanistan, Kazakhstan, and Pakistan.

Increasingly resistant to lessons on international politics, society often turns to television and film to engage the subject. Numerous movies made in the twentieth and twenty-first centuries reflect political themes that were of concern within the popular cultures of their times. For example, Norman Jewison's The Russians Are Coming! The Russians Are Coming! (1966) portrays the culture of suspicion between the United States and the Soviet Union during the Cold War, while several of Alfred Hitchcock's movies as well as the John Wayne film Big Jim McLain (1952) and John Milius's Red Dawn (1984) helped to raise and sustain skepticism about the Soviet Union. World Politics on Screen: Understanding International Relations through Popular Culture uses films and television shows like these as well as contemporary including 24, The Simpsons, South Park, and The Daily Show to guide readers to a deeper understanding of enduring issues in international politics. In this unique and insightful volume, author Mark Sachleben demonstrates that popular culture reflects societal beliefs about the world, and that the messages captured on television and film transcend time and place. Using films such as Secret Ballot (2001), Under the Bombs (2007), and Wall E (2008), he addresses topics such as international relations and diplomacy, the study of war, nuclear weapons, poverty, immigration and emigration, human rights, and genocide. An engaging read for students and for anyone with a general interest in politics and popular culture, World Politics on Screen succeeds in its argument by illuminating unexplored assumptions about international policy.

East Asian pop culture can be seen as an integrated cultural economy emerging from the rise of Japanese and Korean pop culture as an influential force in the distribution and reception networks of Chinese language pop culture embedded in the ethnic Chinese diaspora. Taking Singapore as a locus of pan-Asian Chineseness, Chua Beng Huat provides detailed analysis of the fragmented reception process of transcultural audiences and the processes of audiences’ formation and exercise of consumer power and engagement with national politics. In an era where exercise of military power is increasingly restrained, pop culture has become an important component of soft power diplomacy and transcultural collaborations in a region that is still haunted by colonization and violence. The author notes that the aspirations behind national governments' efforts to use popular culture is limited by the fragmented nature of audiences who respond differently to the same products; by the danger of backlash from other members of the importing country's population that do not consume the popular culture products in question; and by the efforts of the primary consuming country, the People's Republic of China to shape products through co-production strategies and other indirect modes of intervention.

This collection explores Eurasianism and its interactions with and effects on political discourses, identity debates, and popular culture.

The world is changing and the way human interact is too. Our cultural identity is no longer limited by the geographical area in which we live but by our access to broadband. POWER POP explores the role of pop culture in the construction of a global society through state mechanisms such as cultural diplomacy and management of international relations. To do this, it enters the world of Kpop and Anime in Peru, their history and development in the local market, and how South Korea and Japan have taken advantage of their great success to improve their own image worldwide.