“It’s a Mad Mad Mad Mad (Men) World”: National and Corporate Strategies in the Global Audiovisual Market

  • Diane Barthel-Bouchier
Part of the Sociology of the Arts book series (SOA)


As the audiovisual industry has globalized, it has developed a complicated pattern of national and international marketing strategies. Some nation-states rely on trade barriers and quotas to protect national cultural industries from foreign competition, while elsewhere once-national corporations have evolved into international audiovisual giants, whose products are fine-tuned to the needs and tastes of different national markets. In addition, innovative technologies and alternate outlets present new opportunities for product positioning. It is here argued that one result of these and other strategies is the increased domination of a neoliberal model of global commercialization, with products that don’t fit the model needing to develop alternative strategies.


Cultural industries Audiovisual Film Television 


  1. Antonini, Rachel, and Giselinde Kuipers. 2008. ‘Humor Doesn’t Travel Well.’ The Reception of American Television Comedy in Italy. Paper Presented at the Joint Conference of the European Sociological Association Research Networks on Art and Culture. Venice, November 2008.Google Scholar
  2. Barnes, Brooks. 2013. ‘Iron Man 3’ Delivers a Punch at the Box Office. New York Times, C1 and C7, May 6.Google Scholar
  3. Barnes, Brooks, and Michael Cieply. 2014. More Movies at Sundance Sidestepping Big Screen. New York Times, B1, B4, January 13, 2014.Google Scholar
  4. Barnier, Martin, and Raphaëlle Moine, eds. 2002. France/Hollywood. Échanges cinématographiques et identitiés nationales. Paris: L’Harmattan.Google Scholar
  5. Barthel-Bouchier, Diane. 2012a. Exportability of Films in a Globalizing Market: The Intersection of Nation and Genre. Cultural Sociology 6 (2): 75–93.CrossRefGoogle Scholar
  6. ———. 2012b. The French Take Hollywood. Contexts 11 (3): 52–53.CrossRefGoogle Scholar
  7. Baumann, Shyon. 2001. Intellectualization and Art World Development: Film in the United States. American Sociological Review 66 (3): 404–442.CrossRefGoogle Scholar
  8. Benhamou, Francoise. 2004. L’economie de la culture. Paris: La Découverte.Google Scholar
  9. Bielby, Denise, and C. Lee Harrington. 2008. Global TV: Exporting Television and Culture in the World Market. New York: New York University Press.Google Scholar
  10. Bouissou, Julien. 2013. Le cinema, l’autre télé des Indiens. Le Monde, 5, November 15, 2013. Géopolitique.Google Scholar
  11. Bourdieu, Pierre. 1993. In The Field of Cultural Production: Essays on Art and Literature, ed. Randall Johnson. New York: Columbia University Press.Google Scholar
  12. Camilleri, Jean-François. 2007. Le Marketing du cinéma. Paris: Editions Dixit.Google Scholar
  13. Carr, David. 2013. More Cracks Undermine the Citadel of TV Profits. New York Times, B1, B8, April 15, 2013.Google Scholar
  14. Carroll, Rory, and Robina Gibb. 2013. Sunset on the Boulevard? Fears Grow for Hollywood’s Future as Directors Leave LA. The Observer 27: 20–21.Google Scholar
  15. Chantepie, Philippe, and Alain Le Diberder. 2010. Révolution numérique et industries culturelles. Paris: La Découverte.Google Scholar
  16. Cieply, Michael, and Brooks Barnes. 2013. To Get Movies into China, Hollywood Gives Censors a Preview. New York Times, B1, B6, January 15, 2013.Google Scholar
  17. Dargis, Manohla, and A.O. Scott. 2012. Film Is Dead? New York Times, 1, 50, September 9, 2012. Arts & Leisure.Google Scholar
  18. Davidson, Adam. 2012. The ‘Mad Men’ Economic Miracle. New York Times Magazine, 20–24, December 9, 2012.Google Scholar
  19. de la Merced, Michael J. 2014. New Movie Studio Is Planned, With China and the Off-Season in Mind. New York Times, B3, March 10, 2014.Google Scholar
  20. Djian, Jean-Michel. 2005. Politique culturelle: la fin d’un mythe. Paris: Gallimard.Google Scholar
  21. Egner, Jeremy. 2013. A Bit of Britain Where the Sun Still Never Sets. New York Times, 21, January 6, 2013.Google Scholar
  22. Elberse, Anita. 2013. Blockbusters: Hit-Making, Risk-Taking, and the Big Business of Entertainment. New York: Henry Holt.Google Scholar
  23. Elliott, Stuart. 2014. Push to Put Brands in Video Content. New York Times, B7, May 5.Google Scholar
  24. Farchy, Joelle. 1992. Le Cinema déchaîné: Mutation d’une industrie. Paris: Presses du CNRS.Google Scholar
  25. ———. 2011. Et pourtant ils tournent –: économie du cinéma à l’ère numérique. Bry-sur-Marne: INA.Google Scholar
  26. Fu, W. Wayne. 2006. Concentration and Homogenization of International Movie Sources: Foreign Film Import Profiles. Journal of Communication 56: 813–835.CrossRefGoogle Scholar
  27. Gournay, B. 2002. Exception culturelle et mondialisation. Paris: Presses de Sciences Po.Google Scholar
  28. Heise, Tatiana, and Andrew Tudor. 2007. Constructing (Film) Art: Bourdieu’s Field Model in a Comparative Context. Cultural Sociology 1 (2): 165–187.CrossRefGoogle Scholar
  29. Kersten, Annemarie. 2012. Terms of Enjoyment: Film Classification and Critics’ Discourse in Comparative Perspective. Rotterdam: Erasmus Research Center for Media, Communication and Culture.Google Scholar
  30. Kuipers, Giselinde. 2008. Comment dit-on ‘do’h!’ en français? Contexts 7 (1): 54–56.CrossRefGoogle Scholar
  31. Lee, C. 1980. Media Imperialism Reconsidered: The Homogenizing of Television’s Culture. Beverly Hills: Sage.Google Scholar
  32. Marling, William H. 2006. How “American” Is Globalization? Baltimore: Johns Hopkins University Press.Google Scholar
  33. Meers, Philippe. 2004. It’s the Language of Film!’: Young Film Audiences on Hollywood and Europe. In Hollywood Abroad: Audiences and Cultural Exchange, ed. Melvyn Stokes and Richard Maltby, 158–176. London: British Film Institute.Google Scholar
  34. Morrison, D., and A. Compagnon. 2008. Que reste-t-il de la culture française? Trans. Michel Bessières, followed by Le Souci de la grandeur. Paris: Éditions Denoël.Google Scholar
  35. Nakajima, Seio. 2013. Re-imagining Civil Society in Contemporary Urban China: Actor-Network Theory and Chinese Independent Film Consumption. Qualitative Sociology 36: 383–402.CrossRefGoogle Scholar
  36. Odello, Laura, ed. 2013. Blockbuster. Philosophie & Cinéma. Paris: Les Prairies ordinaires.Google Scholar
  37. Piquard, A. 2014. L’Autre exception culturelle française. Le Monde, 2, January 8, 2014. économie et entreprises.Google Scholar
  38. Rantanen, T. 2002. The Global and the National: Media and Communications in Post-communist Russia. Lanham: Rowman & Littlefield.Google Scholar
  39. Regourd, S. 2004. L’exception culturelle. Paris: Presses Universitaires de France.Google Scholar
  40. Rohter, Larry. 2013. Can You Say ‘Do It Again’ in Norwegian? New York Times, AR 14, April 14, 2013.Google Scholar
  41. Rose, Frank. 2011. The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories. New York: W.W. Norton.Google Scholar
  42. Schwartz, Vanessa. 2007. “It’s so French!” Hollywood, Paris and Cosmopolitan Film Culture. Chicago: University of Chicago Press.Google Scholar
  43. Scott, A.J. 2000. French Cinema: Economy, Policy and Place in the Making of a Cultural Products Industry. Theory, Culture & Society 17 (1): 1–38.CrossRefGoogle Scholar
  44. ———. 2005. On Hollywood: The Place, the Industry. Princeton: Princeton University Press.Google Scholar
  45. Thomas, Amos Owen. 2005. Imagi-Nations and Borderless Television: Media, Culture and Politics Across Asia. Thousand Oaks: Sage.Google Scholar
  46. ———. 2006. Transnational Media and Contoured Markets: Redefining Asian Television and Advertising. Thousand Oaks: Sage.Google Scholar
  47. Tomlinson, John. 1991. Cultural Imperialism. Baltimore: The Johns Hopkins University Press.Google Scholar
  48. Uricchio, W. 1996. Displacing Culture: Transnational Culture, Regional Elites, and the Challenge to National Cinema. In Trading Culture: GATT, European Cultural Policies and the Transatlantic Market, ed. H. Mommas Van Hemel and C. Smithuijsen, 67–82. Amsterdam: Boekman Foundation.Google Scholar
  49. van de Kamp, Mirium. 2009. Where Corporate Culture and Local Markets Meet. Music and Film Majors in the Netherlands 1990–2005. Ph.D. thesis. Rotterdam: Erasmus Research Center for Media Communications and Culture.Google Scholar
  50. Viviani, Christian, ed. 2007. Hollywood: les connexions françaises. Paris: Nouveau Monde éditions.Google Scholar
  51. Wildman, S., and S. Siwek. 1988. International Trade in Films and Television Programs. Cambridge, MA: Ballinger.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Diane Barthel-Bouchier
    • 1
  1. 1.Stony Brook UniversityStony BrookUSA

Personalised recommendations