In other words, individuals could drive multinational or foreign designed automobiles, wear foreign produced perfume, but should remain vigilant when enjoy foreign films and television programs or other cultural products (Dumas, et al. 2010). However, little do these people know that the production mode of the media culture determines the globalisation of it, especially since the mid-twentieth century , new media and new media culture comes along with it, are emerging and developing in the international environment with relatively frequent exchanges (Appadurai 2000). That is to say, what we call the media culture of today is not entirely follow the traditional method that brought to the global market after its completion in certain developed countries, but gradually generated in the broader context of international exchanges which are contributed by the modern commercial media system (McChesney 2001). Taking the Hollywood films as an example, it is totally different form what it was half a century ago. Today’s Hollywood has a broader global context; its creators and performers are white, black or yellow from Europe, Asia or Oceania and other regions around the world.