By Eric M. Fattor (auth.)
Movies, tv, and American tradition permeates even the main distant reaches of the globe in unheard of degrees. What impact does the unfold of the yankee zeitgeist have on worldwide perceptions of the U.S.? This booklet analyzes the complicated function leisure performs in international coverage - weighing its merits and setbacks to nationwide pursuits abroad.
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Additional info for American Empire and the Arsenal of Entertainment: Soft Power and Cultural Weaponization
West Africa provided the dateline for many of the stories, but other dispatches came from missionaries as far flung as East Africa, India, and China. As the British Navy began patrolling for slave ships off the coast of Africa, the Missionary Herald began to report their activities as a kind of episodic military campaign, tantalizing its eager readers with pages filled with maps of the African coast and “engravings of ‘Greegree’ men of West Africa”27 For British readers of these adventures, antislavery was increasingly becoming as much a form of entertainment as a humanitarian cause.
These music hall productions whipped their audiences into a patriotic frenzy that J. A. Hobson labeled as jingoism—a heightened emotional state of nationalism that combined racist attitudes, lionization of British culture, and a lust for the destruction of any group that questioned the right of Great Britain to rule the world. In jingoism, politically themed entertainment aroused the masses to support a war that did not promise to benefit them in any way in favor of the interests of a narrow set of industrial, financial, and government elites.
Instead, the absence of such an infrastructure meant the establishment of India as a crown colony and the expansion of Britain’s bureaucratic and military presence in the country. The Indian Revolt served not only as a harbinger of things to come for Great Britain, but also an example of what can happen when there are no soft power assets available to make imperial rule and dominance palatable to local populations. Yet with a global media apparatus still in a primitive stage, the ability for Great Britain to use platforms of spectacle and engagement to avoid such uses of violence was limited.
American Empire and the Arsenal of Entertainment: Soft Power and Cultural Weaponization by Eric M. Fattor (auth.)