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of the mind', or the development of ideas, concepts, genres and programme
forms. In a mode of thought that is derived from Adam Smith as well as Karl
Marx, Miller et al. argue that the production process ('activities of the hand')
is being progressively globalized in search of lower labour costs and other costs
of production, while the generation and ownership of intellectual property
('activities of the mind') that are associated with these new product concepts
remain highly centralized. Miller et al. propose that the NICL as a concept
explains and critically interrogates 'the differentiation of cultural labour, the
globalization of labour processes [and] the means by which Hollywood coordinates
and defends its authority over cultural labour markets' (Miller et al.,
2001, p. 52). The Global Holly2uood argument developed by Miller et al. is
distinctive in the critical political economy tradition, in that is not dependent
upon the dominant ideology thesis, cultural nationalism, or an effects-based
understanding of the media text-audience relationship. In that respect, their
work cuts across the grain of many traditional arguments between critical
political economy and other perspectives such as cultural studies, and will
provide an ongoing touchstone for arguments developed in this book.
Cultural Studies
It is in some respects odd to juxtapose cultural studies to critical political
economy as different ways of understanding global media. Both approaches
share an understanding of social reality derived from critical theory and the
work of cultural theorists such as Raymond \Villiams, both seek to identify
and critique dominant interests in the media and cultural spheres, and both
draw upon a range of intellectual resources that arise from the critical
dialogue with Marxism that emerged from the rise of the 'New Left' and anticolonial
movements in the 1960s and 1970s. At the same time, however, the
two approaches have clearly seen each other as exhibiting a serious lack, as
seen in the protracted and sometimes venomous debate between academics
representing the two approaches (sei for example, Garnham, 1995;
Grossberg, 1995; Mosco, 1996; Ferguson and Golding, 1997; Hartley, 2003).
Cultural studies has been particularly concerned with questions of crrltrrral
power, or the ways in which a multitude of cultural forms are produced,
distributed, interpreted and contested through technical means of communication
in an era where access to the technologies through which media are
distributed is widely spread among populations. Nelson et al. (1992, p. 4)
have defined cultural studies as 'an interdisciplinary field ... committed to the
study of the entire range of a society's arts, beliefs, institutions and commu-
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38 Understanding Global Media
nicative practices'. It has been particularly concerned with the relationship
between media, power and culture in modern, mass-mediated societies and
cultures. As Stuart Hall observed, 'in twentieth-century advanced capitalism,
the media have established a decisive and fundamental leadership in the
cultural sphere ... They have progress