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                         4             The Inflow of American



                                       Television Fiction on European

                                       Broadcasting Channels

                                       Revisited


                                       Els De Bens and Hedwig
                                       de Smaele





                         Situating the research

                         In the 1970s, empirical research on international programme flow consistently
                         pointed out the dominant position of the American audiovisual industry and
                         the asymmetric relationship between the USA and the rest of the world
                         (Nordenstreng and Varis, 1974; Varis, 1984). The often Marxist authors such as
                         Varis (1974), Schiller (1976), Mattelart and Dorfman (1975), Tunstall (1977), Boyd-
                         Barrett (1977) and Hamelink (1978) drew attention to the homogenization of
                         television content as a result of the dominant American programme industry
                         and stirred the debate on American media imperialism and more broadly on
                         American cultural imperialism.
                           In the 1980s, a new wave of empirical studies (Pragnell, 1985; Silj, 1988;
                         Sepstrup, 1990; Blumler and Hoffman-Riem, 1992; De Bens et al., 1992; Biltereyst,
                         1995, 1996) confirmed the dominant position of American fiction on European
                         television. The renewed interest was caused by the launch of many new
                         commercial channels in the 1980s. The high launch and start-up costs of the new
                         channels and their initial unprofitability left little for domestic production, so
                         import became the rule.  American fiction was cheaper than European, and
                         furthermore, ensured high ratings. Hence, the commercialization of the
                         television landscape stimulated the inflow of American television programmes,
                         especially fiction.
                           The authors referred to, analysed the television content and the inflow of
                         programmes, but not the reception. They did not go into the impact of this
                         dominant American content on the attitudes and perceptions of the viewers.
                         Rating analyses provided only hints about tastes and preferences. In all
                         European countries it was found that viewers showed an outspoken preference
                         for home-made fiction. Hence, as soon as the new commercial channels had at
                         their disposal more revenue generated by advertising, they started to invest in

                         Source: EJC (2001), vol. 16, no. 1: 51–76.
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