[Editor’s note: this lecture was delivered to the Leavey Institute of Santa Clara University in 2003. You can find it reproduced in whole here]

Just another National Specialization

The massive asymmetry in films exports between the US and the rest of the world may be the result of any number of factors. The fact that foreign movies occasionally do well in the US market ( in recent years, “Life is Beautiful”, from Italy, “Amélie”, from France. The first, 1999, Pokemon cartoon from Japan grossed US$85.7 , million, according to WSJ 7/19/02:w11, and, as forecasted by same – “Read my Lips”, also from France, will do well) suggests that public preference, and possibly language barriers, are more likely to be issues than American distribution superiority, for example. Yet, language barriers may be less significant than one would guess. Luc Besson’s “Jeanne d’Arc” (“The Messenger”) released in 1999, purportedly produced in English to make it accessible to the polyglot EU markets and to the US market, registered 3.07 million admissions in the European Union in that year, against, 40 million for American-made “ Star Wars Episode 1”, 23 million for “Tarzan”, almost 21 million for “The Matrix” , and 7.4 million for “American Pie”. Even the obscure, American-made “Patch Adams” did better ( EAO 2001: 100). “The Messenger” flopped so badly in the American market that admissions and revenue figures are hard to find. For 1999 also, only one British production and two UK-US co-productions, all in English of course, figure among the top worldwide 50 admission getters. In Belgium where practically the whole population understands French , French-made movies obtain usually less than 10% market share, against an 80% share for American-made movies. (EAO 2001: 96). Finally, the foreign successes of Indian movies, almost all in languages understood hardly anywhere outside India and not everywhere in India, suggest again that language may be a small constraint. Continue reading →