On The Dynamics Of Global Kitsch
or
Circuit-Bending The Culture Industry





"____________________"""""""""" _______________________
|...........................|"""""""""|.................................|
|.HOLLOCORE Trash Hit|=====>|.CHINA Pop Kitsch Cover....|
|...........................|"""""""""|.................................|
|..From Paris To Berlin.|"""""""""|...From Taipei To Beijing...|
|.(Tron Quote/Parody).|"""""""""|.................................|
|..........||..............|"""""""""|.Part1: Japanese Schoolgirl.|
|..........||..............|"""""""""|...........Fetish Video.......|
|.........\||/.............|"""""""""|..............||................|
|..........\/...............|"""""""""|.............\||/..............|
|...........................|"""""""""|...............\/...............|
|From London To Berlin|"""""""""|.................................|
|(World Cup 06 Parody)|"""""""""|Part2: Madona Bling Cabaret|
|___________________|"""""""""|_______________________|

The songs as forms move completely outside of the sphere of cultural hegemony: the U.S. is conspicuously absent from that level (direction is Eastward: from Denmark to China). It is only the videos (as expressions) that introduce references to American pop, be it as an obsolete Disney movie (the aesthetics of geeky techno kink), or as a template for superstar image production on screen.

This diagram is not intentionally hermetic: it can easily be decrypted with Wikipedia and Google