HOLLYWOOD PLANET CINEMA INDUSTRIES AND THE GLOBAL POPULAR

1. HOLLYWOOD PLANETCINEMA INDUSTRIES AND THE GLOBAL POPULAR MEVIT4220/3220 Autumn 2009 Henry Mainsah

2. “In spirit, if not in fact, we have already entered the 21st century. The world is our audience” - Steve Ross, chairman of Time Warner • “this cultural phenomenon is much stronger than any other and it cannot disappear. It can’t; the proof is that it continues stronger than ever” - Jean-Luc Godard, French filmmaker Department of Media and Communication

3. Some observations • Film charts 2009 • http://www.variety.com/ Department of Media and Communication

4. Some general observations • Hollywood movies dominate the domestic market in the US • They are equally dominant in other European countries • France might be an exception here • The occupy a dominant position in the cinematic landscape in Asia, Africa, Latin-America and Oceania • There are a few interesting exceptions • Thus a more global outreach than any other cinema industry Department of Media and Communication

5. Why is Hollywood so dominant? • Political economy explanations • Looking at the film texts • Turning towards reception Department of Media and Communication

6. The production - distribution system • Financing • Good access to investments • Production • The studio system - star contracts, scripts purchase • Distribution • Global distribution system • Marketing - • The star system, branding etc. Department of Media and Communication

7. “mass is critical, if it is combined with vertical integration and the resulting combination is intelligently managed”: “The importance of a large, vertically integrated operation in your home country cannot be emphasized enough, for it enables you to build globally” - Steve Ross, TimeWarner CEO Now Sony can control the whole chain. Its broadcast equipment division manufactures the studio cameras and the film on which movies are produced; in Columbia it owns a studio that makes them and, crucially, determines the formats on which they are distributed. That means it can have movies made on high definition film so they can be viewed on Sony high-definition televisions, and videoed with Sony VCRs. It can re-shoot Columbia’s 2700-film library on 8mm film for playing on its video walkmans (Cope, 1990: 56) Market concentration - vertical and horizontal integration Merging of Time and Warner Sony’s acquisition of Columbia Pictures Film companies as multi-media conglomerates Forging of new links between the major studios and other media operations such as television production companies, network and cable television channels, music and recording businesses, book, magazine and newspaper publishers, theme parks, and, computer games, toys, electronic hardware Economic strategies Department of Media and Communication

8. Nature of the industry • High level of risk attached to the product • High dependency on creative talent • Extremely costly business • An average American film in 1989 cost around $30 million - $20 million to production cost, $7 million to domestic marketing, $3 million to studio overheads (Economist) - Titanic (1997) $200 million • Difficult to anticipate audience preferences • Film companies driven to devise strategies to limit risk • Cut costs • Extend markets • Control of critical “hubs” of film business Department of Media and Communication

9. Hollywood’s dispersible texts • Marketing, merchandizing and media “hype” operate to pluralize mainstream film by “raiding” the texts for “capitalizable” features that can circulate in their own right. The dissemination of images, characters, songs, stars, ideas, and (re)interpretations of the film extends to presence in the social arena of potential viewers - Barbara Klinger • Promotional operations do not only work on the finish text but shape its assembly in the first place • Multiple bids to capture audiences intratextually • Each film’s construction as combination of attractions • Extratextually • Via advertising, publicity, and ancillary products - satellite texts orbit films - licensed products, media coverage arranged by symbiotic relations between distributors and press outlets • Logic of cross-promotion: • Ancillary products and publicity serve to guide potential viewers to films • Satisfied audiences in turn guided to purchase ancillary merchandise(if films gain success at Box Office its brand value can be exploited in overseas markets, DVD and TV, and via more licensing and merchandizing) Department of Media and Communication

10. Contra flows: Global Bollywood • Top film producer in the world • Popular Indian cinema - International profile second only to Hollywood • Shown in more than 70 countries - popular elsewhere where among south Asians, but also in Middle-East, Asia, Africa • Mumbai film industry worth $ 3.5 billion • Exports jumped twenty-fold between 1989-1999 • Employs 2.5 million people Department of Media and Communication

11. Bollywood: Context of economic growth • Deregulation of India’s media sector in the 1990s • Advancements in media technology and the availability of satellite cable television, online delivery systems • Global marketing strategy • Changing global broadcasting environment • “Bollywoodization” of television - Zee Cinema, Max, Star Gold Department of Media and Communication

12. What effects are these Hollywood products having? • dichotomy between difference and sameness? • What is it about certain narratives that allow them to be easily read - more appealing to wider audiences than others? • Is political economy the only explanation? Department of Media and Communication

13. It’s a fallacy...to equate shared narratives with shared meanings. The fact that American TV shows are rebroadcast across the globe causes many people to wring their hands over the menace of cultural imperialism; seldom do they bother to inquire about the meanings that different people bring to and draw from these shows...” (Gates, 1995: 62) Department of Media and Communication

14. Understanding through reception studies • Theories of reading: • Encoding-decoding • Textual poaching Department of Media and Communication

15. Indigenous readings of Hollywood texts • Liebes and Katz(1993) - The Export of Meaning: Cross Cultural Reading of Dallas: • Americans saw it as lesson on how wealth fails to bring happiness • Moroccans as an aphorism that wealth itself is evil • Russians as an exercise in politics of capitalism • Palestinian Arabs as parable of the moral degeneracy of modernism • Israeli Kibbutzniks as evidence that all Americans are unhappy • Miller (1995) - The Consumption of Soap Operas: The Young and the Restless and Mass Consumption in Trinidad: • Popularity due to an indigenous cultural criterion • Summarized with calypso term bacchanal - scandal, confusion, bringing truth to light • Viewed as realistic - scenes do not look like Trinidad - truth in relation to key structural problematics of Trini culture • Not a matter of Trinis finding hidden meaning in text, but of the projecting some part of themselves Department of Media and Communication

16. Exportable narratives • Many media products from other nations are virtually unexportable • Not all transnational successes are American - Brazil, Mexico, Peru produce and export soap operas, many of them to Spanish-language market in US. • However few transnational media exports match the American ones for versatility, ubiquity, and sustainability. • Openness to varied readings is a distinct advantage to those trying to sell films and TV programs internationally Department of Media and Communication

17. “the universality, or primordially, of some of (the American media’s themes and formulae...makes programs psychologically accessible; the polyvalent or open potential of many of the stories, (increases) their value as projective mechanisms and as material for negotiation and play...” (Liebes & Katz,1993: 5) • “Cultures throughout the world may not share narratives, but persons in these cultures share the human experience, and it is this that provides a way to account for particularly successful narratives. Every human knows knows what it is to laugh, cry, wonder, and participate... Films and television programs that engage these emotions most directly, most undiluted by cultural encrustation, are the most likely to seem familiar and archetypical, not because they correspond to indigenous mythology, but because they are premythic” (Olson, 1999: 48-49) Department of Media and Communication

18. Fin Department of Media and Communication