Darling-Wolf (2014) writes, "Most importantly we must resist the impulse to equate the (omni)presence of U.S. texts with a kind of cultural imperialism à la Dorfman and Mattelart (1971) generating visions of non- U.S. consumers abandoning their baguettes or onigiri (Japanese rice balls) to run to the nearest McDonald after watching the latest episode of Desperate Housewives." What is NOT one of the reasons she gives for resisting this impulse?

Question

Darling-Wolf (2014) writes, "Most importantly we must resist the impulse to equate the (omni)presence of U.S. texts with a kind of cultural imperialism à la Dorfman and Mattelart (1971) generating visions of non- U.S. consumers abandoning their baguettes or onigiri (Japanese rice balls) to run to the nearest McDonald after watching the latest episode of Desperate Housewives." What is NOT one of the reasons she gives for resisting this impulse?

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Question restatement: Darling-Wolf (2014) argues against equating the omnipresence of US texts with cultural imperialism, and asks which of the given statements is NOT one of the reasons she gives to resist that impulse.
Option A: "No matter how popular US media is, it will never be as popular as local media products". This line reflects a common view that local media retain strong appeal and market presence independent of US dominance. Darling-Wolf’s critique centers on resisting an automatic imperialist reading, not on asserting a fixed hierarchy where local media are always more popular; thus this option is not the exact argumentative move she emphasizes, but it captures a reasonable stance about local popularity and contestation. It is a plausible reason someone might invoke to resist simplistic imperialism claims, though not the core focus she highlights.
Option B: "US media has higher production budgets, which audiences in other countries value". This statement attributes value to budget size as a driver of reception. Darling-Wolf’s argument about resisting imperialist readings centers on conceptual misconceptions about cultural influence and does not foreground production budgets as a reason to resist the impulse. The claim about budgets and audience valuation is therefore not one of the resistive justifications she offers in the cited passage.
Option C: "Audiences in other countries can appreciate US media while still approaching it critically". This aligns with a nuanced stance she advocates: recognizing engagement with US texts without automatically endorsing US culture as a whole. It is a direct example of resisting a simplistic imperialist reading by acknowledging critical reception and plural interpretations.
Option D: "Appreciation for US media products does not automatically cause people to have a positive assessment of the USA or its culture". This statement mirrors the core resistive idea—consumption and appraisal of media do not straightforwardly translate into endorsements of a nation or its politics—and thus represents a reason she would give to avoid conflating media presence with cultural imperialism.
Elaborating on the misfit: The only option that introduces a rationale centered on production budgets as a valued driver, rather than focusing on interpretive complexity, imperialism critique, or critical reception, diverges from the kinds of reasons Darling-Wolf articulates. The other options engage with audience agency, critical stance, and nuanced interpretation, which are in line with her resistive framework.
In summary, the statement about higher production budgets and audience valuation (Option B) does not reflect the resistive reasons Darling-Wolf explicitly offers, whereas the other options touch on critical reception, agency, and the non-automatic linking of audience appreciation to political or cultural endorsement.

ling_222_120251_246103 Week 12 Reading Quiz

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