ABSTRACT
For several centuries, culture flowed largely in one direction: out of Europe to the colonies and the rest of the world. Then, after World War I, the flow reversed direction for the young medium of film. Around the world, audiences flocked to Hollywood movies. European cultural elites, shocked at the loss of control over their publics, led a countercharge. They promoted protectionism to support centuries-old national cultures against a few vaudeville theater promoters who had pitched their tents in Hollywood. But despite seven decades of efforts, this challenge remained. In 1999, of the 50 highest grossing films worldwide, 49 were American. The year before, it was 22 of the top 25. In Germany, domestic films were down to 10% of the audience (the rest was predominantly for American films). In the United Kingdom, the domestic share fell to 14% in 1998. Even in France, the audience share for domestic productions has dropped below one third of the total. The European Union, to stem the tide, provided subsidies of $850 million for film, but they generated box office revenues of only $400 millions.
