Holly 1
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Transcript of Holly 1
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HOLLYWOOD AND THE RISEOF CULTURAL
PROTECTIONISM
NEHAHASIJA
SHELZA
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SUMMARY
This case study emphasizes on 2 mainpoints:-
Does HOLLYWOOD have a negativeimpact on the world..
Are subsidies and quotas the right way to
protect the cultural industries.
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CULTURAL PROTECTIONISM
The success of Hollywood isundoubted; in 1998 the 39 mostsuccessful movies were all American.
The issue of Americas culturalinfluence is perhaps felt most
profoundly in France.
Cultural protectionism has become amajor issue in WTO negotiations, ithas also driven a number of states (e.g.Qatar, Russia, China, France) tosponsor international broadcasting
operations
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CONS OF HOLLYWOODMOVIES
ARTISTIC
Hollywood films arepoor, only use specialeffects and violence to
mask preposterousplots, weak dialogue
and poor acting.
MORAL
Hollywoodfilms glorify
sex andviolence,
attacking the
moral valuesof all
societies andleading theiryoung astray
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CULTURAL
Hollywood imposes American entertainment and itslanguage on the world
Globalisation of entertainment threatens to result inan American-flavoured uniformity.
POLITICALHollywood portrays a simplistic good vs. evil
view of international conflicts, in whichstereotyped and negative images of Muslims,Russians, South Americans, etc. are presented
as the enemies of freedom and progress.
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ECONOMIC
The sheer size and financial powerof Hollywoods major studios
allows them to dominate foreign
cinemasThis is achieved through bigbudgets associated with veryexpensive special effects, huge
salaries for star actors from aroundthe world
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SOME EXAMPLES
Steven Spielberg, produced anddirected JURASSIC PARK.He has been target of complaintshow Hollywood is changingWORLD CULTURESThis film ignited a storm of
protest.Critics found this film to be
brainless , lacking plot ,succeeding through big budgets.This film considered as threat to
national identity of french people
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LOST IN TRANSLATIONANOTHER EXAMPLE
This film came under fire from LOS ANGELES toTokyo.
This film portrayed Japanese people as Robotic
caricatures. Japanese were disappointed by this movie.
This film is seen to reinforce negative stereotypes about
the Japanese.
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IS THE US INDUSTRYOVERWHELMING THE CULTURES OF
THE WORLD?There are some relevant facts:- Hollywood produces 80% of the films
viewed internationally.
US global market share doubled since1990.
After aerospace, Hollywood is the
united statess largest net export. US imports few foreign films.
Hollywoods film remains in highdemand worldwide..
Forei n films hold less than 1 % of the
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WHAT ASPECTS OF CULTURE DOHOLLYWOOD FILMS PROMOTE AROUND THE
WORLD?
HOLLYWWOD Films can be argued aspromoting all aspects of culture:-
1)Political philosophy: Air Force One(1997)
2)Economic philosophy: Cruel Intentions(1999);
the pursuit of Happiness(2006).
3)Social Structure: The Associate(1996); PrettyWoman(1990)
4)Education: Dead Poets Society(1989); LittleMiss sunshine(2006)
5)Religion: Passion Of The Christ(2004); TheLove Guru(2008)
6)Language: Rush Hour, ShanghaiNoon 2000 ,lost in Translation 2003
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IN WHAT WAYS DO HOLLYWOOD MOVIESAFFECT THE CULTURAL VALUES OF PEOPLE
OUTSIDE THE US? Religion and language remain the most
sensitive elements of culture.
The Americanization of global values
&beliefs. Hollywood films affect their audience ,
both outside and inside of the US.
The Godfather and Pearl Harborillustrate decision-making patterns.
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Eg. The Last Samurai is competition vs. cooperation
Conversational patterns and high/low context environment;implicit and explicit communication illustrating the value ofclarity.
The Lord Of the Rings, is essentially about struggle betweengood and evil. But also interpreted as the war between
Christians and Muslims. There are certain dimensions of culture, like the sense of
style or aesthetics that might be influenced by movies. Eg.Devils Wears Prada (2006).
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DO FILMS HAVE THE POWER OFTRANSMITTING ITS CULTURAL VALUES
TO OTHER CULTURES EYEBALL is a term used to name
the audience in movie and TVindustries.
When eyeballs are watching amovie, they will somehow relate to itand may even want to imitate it.
However , the trance, accompanied byatmosphere , music , color and specialeffects, may not be that powerfulbecause every eyeball has its own
perception.
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pros OF HOLLYWOOD
ARTISTIC
Films made in
Hollywood canbe rubbish, butthey can also beterrific as can
films madeanywhere else
in the world.If the public
MORAL
Hollywood moviesactually tend to promote
liberal values of universal
significance, e.g. womensrights, the evils of tyranny,the independent worth ofeach human life, and the
possibilities of individual
success through hard work.
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CULTURAL
Hollywood movies may help to create aninfrastructure of cinemas and marketingmethods, as well as a film-going public
eager for a more varied diet ofentertainment
POLITICAL
Hollywood is far from typically or monolithically American, insteadits concentration of creative resources have made it an international
centre for the production of entertainment
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ECONOMIC
If money guaranteedsuccess then small-budget
"foreign" films such asThe Full Monty wouldnever become internationalhits, and expensivemonsters such as Water
world would alwayssucceed.
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DISTORTING HISTORY ANDRELIGIOUS VALUES
Hollywood war films are accused ofpresenting biased accounts of history.
APOCALYPSE NOW may have
painted a ethnocentric view of theVietnam War , focusing on the Americantragedy while ignoring that of vietnamese.
THE PASSION OF CHRIST enraged
religious groups in every corner of theworld.
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The global recognition and acceptance ofAmerican English and cultural References are
obstacles that competitors face.
Hollywoods global success is attributed toassociation of American style with a way of
existence that others wish to share in.
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MOVIES AND COMPARATIVEADVANTAGE
Films are not like a commodity because it ahs aability to influence national culture and socialdevelopment.
The world is no longer immigrating to the US ,the US is attempting to emigrate to the world ,through its films.
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CULTURAL PROTECTIONISM
Application of Trade Barriers that aim to prevent localfilm industries from being swamped by US imports..It includes subsidies , Quotas or a combination of both.
Subsidies are funded by taxes placed on Box Office salesof US movies.Quotas limit the number of screens allowed to show USfilms.The whole system results in production of local filmsThis reduces their ability to create globally competitivefilms.
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WHAT FACTORS DETERMINE THE HIGHDEMAND FOR HOLLYWOOD FFILMS IN
WORLD MARKETS? Globalized Markets.
World markets like such big-budgets ,entertaining films with the right stuff.
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SO LITTLE DEMANDED IN
THE US? Possibly ethnocentricity.
Americans like Hollywood Movies
because they are made the rightway , the American way.
Americans just want their specialeffects , violence , and sometimesromance.
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WHAT CAN FOREIGN FILM MAKERS DOTO INCREASE DEMAND FOR THEIR
MOVIES IN THE US?
1)ALLIANCES
2)BETTER FILMS
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Do movies constitute a separate category(culture incarnate as stated in the case), orshould they be treated like any other good? That
is, given the nature of movies, is it okay for acountry to shield and support its own filmindustry via protectionism?
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A Yes and a No
Yes, because Filmmakers have the right todeliver their ideas and understanding to others.
No, if a film industry is too powerful.
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Are subsidies and quotas
the right way to protect
cultural industries?What are the advantages
and disadvantages of
subsidies and quotas
for protecting local film
industries?
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Advantages : Domestic industry is artificiallyboosted.
Disadvantages:Subsidies: Can weaken industries.
Quotas :
1.results in the local production of films simplyto fulfill government mandates.
2. weaken protected industries, reducingcompetitional improvements.
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Are there any other cultural industries that
governments should protect?
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Protectionism jeopardizes freedom of speech.
Regulation acts in opposition to the freemarket.
to mitigate the tension between Hollywoodand Europe, might be to form a FilmConsortium.
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Are there better ways to maintain and enhancehome-grown film industries?
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Compete under a free-market scenario
Competitive advantage is internally-derivedwith quality films, rather than externally-subsidized through artificial and necessarilytemporary measures.
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