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Essay / Research Paper Abstract
(5 pp). The dominance of American motion pictures
in the international market dates back to late
1800s when American producers began exporting their
products. The historical roots of the current
prominence of the USA in the international market
for films (and, subsequently, television programs)
have received increasing attention from historians
in recent years. It cannot be denied that the
United States still dominates the global motion
picture market and that Europe lags well behind in
terms of market share. Bibliography lists 5
sources.
Page Count:
4 pages (~225 words per page)
File: D0_BBamfilm.rtf
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Unformatted sample text from the term paper:
prominence of the USA in the international market for films (and, subsequently, television programs) have received increasing attention from historians in recent years. It cannot be denied that the
United States still dominates the global motion picture market and that Europe lags well behind in terms of market share. Many ask why and answers range from quality of product,
to commercially orientated production and unfair distribution practices, the list is endless. This paper is an attempt at investigating the reasons why Europe, as exemplified in France, has not succeeded
and America has. History: Historical studies dealing with responses to American film dominance have tended to emphasize negative reactions such as European government intervention; consequently, resistance and conflict loom
large in these accounts (Bjork, Ulf Jonas 245). A recurring theme in the study relating to the film industry is, whether film can be viewed as an industry at all.
Often the notions of industry and art form are separated into two diametrically opposed camps. The American model they argue, approaches film making from an industrial angle; while the European
model suggests that film is the preserve of the artisan - to paraphrase French filmmaker, Jean-Luc Goddard, films are made for one or maybe two people. In most cases,
both elements are evident to greater and lesser degrees in each and every film that is produced in America and Europe film (Kerrigan ppg). Sacrifice of the
artistic? One of the foremost debates that prevail in the study of the film industry, is whether it can in fact be viewed as an industry at all. The
argument is the difference between "the film industry" and "cinema". The former, by virtue of its phrasing, implies that the film industry can be seen in purely industrial terms while
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