Le cinéma américain : un impérialisme culturel ?
There are many people who equate American cinema with the domination of world screens. It is not a new trend and it is true that the American studios have always tried to have the biggest market share in all the countries showing their films. Yet, the paradox is that those countries can take advanta...
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| Format: | Article |
| Language: | English |
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Presses universitaires de Rennes
2007-09-01
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| Series: | Revue LISA |
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| Online Access: | https://journals.openedition.org/lisa/1626 |
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| author | Nathalie Dupont |
| author_facet | Nathalie Dupont |
| author_sort | Nathalie Dupont |
| collection | DOAJ |
| description | There are many people who equate American cinema with the domination of world screens. It is not a new trend and it is true that the American studios have always tried to have the biggest market share in all the countries showing their films. Yet, the paradox is that those countries can take advantage of the American presence on their soil; for example, taxation of profits or of ticket sales can finance local productions while the various American “runaway productions” enable some countries to develop or update their own cinematographic infrastructures and at the same time provide the opportunity for their local technicians to improve their skills. It is thus possible to take advantage of the American domination that is predominantly an economic one and that follows the trend of globalisation. |
| format | Article |
| id | doaj-art-a0f2123274af41daa7f47c8e7645f060 |
| institution | Kabale University |
| issn | 1762-6153 |
| language | English |
| publishDate | 2007-09-01 |
| publisher | Presses universitaires de Rennes |
| record_format | Article |
| series | Revue LISA |
| spelling | doaj-art-a0f2123274af41daa7f47c8e7645f0602025-01-06T09:02:16ZengPresses universitaires de RennesRevue LISA1762-61532007-09-01511113210.4000/lisa.1626Le cinéma américain : un impérialisme culturel ?Nathalie DupontThere are many people who equate American cinema with the domination of world screens. It is not a new trend and it is true that the American studios have always tried to have the biggest market share in all the countries showing their films. Yet, the paradox is that those countries can take advantage of the American presence on their soil; for example, taxation of profits or of ticket sales can finance local productions while the various American “runaway productions” enable some countries to develop or update their own cinematographic infrastructures and at the same time provide the opportunity for their local technicians to improve their skills. It is thus possible to take advantage of the American domination that is predominantly an economic one and that follows the trend of globalisation.https://journals.openedition.org/lisa/1626blockbusterscultural imperialismEuropean cinemaexhibitionglobalisation/globalizationrunaway productions |
| spellingShingle | Nathalie Dupont Le cinéma américain : un impérialisme culturel ? Revue LISA blockbusters cultural imperialism European cinema exhibition globalisation/globalization runaway productions |
| title | Le cinéma américain : un impérialisme culturel ? |
| title_full | Le cinéma américain : un impérialisme culturel ? |
| title_fullStr | Le cinéma américain : un impérialisme culturel ? |
| title_full_unstemmed | Le cinéma américain : un impérialisme culturel ? |
| title_short | Le cinéma américain : un impérialisme culturel ? |
| title_sort | le cinema americain un imperialisme culturel |
| topic | blockbusters cultural imperialism European cinema exhibition globalisation/globalization runaway productions |
| url | https://journals.openedition.org/lisa/1626 |
| work_keys_str_mv | AT nathaliedupont lecinemaamericainunimperialismeculturel |