> The countries that don't have their own media import it, and will often learn other languages to access it rather than waiting for translations of varying quality.
Also, even when such media cultures exist, they’re competing against the incredible might of Hollywood, Netflix, Disney, etc. It is very difficult to compete with the budget and production quality that these companies can maintain if you’re a smaller economy. Disney’s revenue last year was 12% of Sweden’s GDP ($65B vs $541B). Sweden would have to sink a massive chunk of its GDP into movies in order to compete with just Disney, let alone all the other streaming services.
My suspicion is that there needs to be not only a tradition to act as a bulwark, but also some national self identity that causes people to reject the homogenizing effect of foreign media. That can either be pride in extant local media (I understand that the Paris novel scene is rather hostile to non-native involvement, for example), or an explicit rejection of the foreign media for more explicitly political reasons.
There must be more to this; places like Nigeria, India, China, Japan all make more feature films compared to the US. Countries like Spain, France, Germany, UK make about half as many. Mexico, Brazil are in the top 15..
But Anglo countries like Canada or Australia or New Zealand make many fewer. UK makes slightly less than the US.
Population size probably matters more and gdp less but having some unique to say helps.
> But Anglo countries like Canada or Australia or New Zealand make many fewer. UK makes slightly less than the US.
No surprise there. Same language (no translation barrier) and a shared background as former British colonies (well, or being British) really seals the deal there. But also there's really no language aspect to analyze here; we can't say that America's media culture undermined the local non-English speaking of say, New Zealand, because most of the people there already spoke English already.
Although the impact on accents is another matter, I am sure.
> There must be more to this; places like Nigeria, India, China, Japan all make more feature films compared to the US. Countries like Spain, France, Germany, UK make about half as many. Mexico, Brazil are in the top 15..
Some of those other countries definitely fall under my criteria. Japan and India both have their own traditions to preserve (Bollywood is a thing), and my understanding is that the CCP has made resisting Hollywood's influence an explicit goal.
The rest of it? Dunno. There's clearly just some other factor at play here that I don't have my thumb on. I can't explain why Brazil and Mexico produce that many movies, this is the first time I've heard that.
> Population size probably matters more and gdp less
I think that's really close, but not quite it. I think the real thing here is having the cultural and economic circumstances that allow people to go and produce media and art for consumption. For some forms of media (especially movies) this is going to largely be a factor of money and population, since that is expensive. But that might not be true for all types of national media. Manga in particular is a fairly small industry, with roughly 40,000 workers and a mere 4,000 artists. Hollywood alone is 10x bigger.
My mind also jumps here to Russia, and how important its literature scene is to both the country and the language. Population is certainly a factor, producing great literature at the country level is often about giving a lot of people the chance to try and seeing what happens, but money really isn't as much a factor given that novels are cheap to produce. Funding great novels is pretty cheap once you've identified worthwhile novelists, since it involves paying maybe the living expenses of a few people.
Perhaps my takeaway here is that Movies are the national media of America (and India too, to be fair), and what we're seeing in some countries is the competition between American movies providing pressure to move to English, and other forms of local media grounding the country in question in its native tongue. That idea might need more fleshing out.
> but having some unique to say helps.
Oh yes, that is certainly very important.
0 - Although for a short while the UK definitely punched above its weight, from the 60s until the 80s or so. The theory I've heard is that this was a side effect of having a really good welfare system; people were able to quit their jobs easily and create music and art, and some of it was really good.
You don't need to "compete with Disney"; and quite honestly I consider that to be a bad way to think about the production of creative works. If you think about production that way, then it just becomes a budget measuring game, and everyone in the industry winds up producing largely similar mass-market works. Producers like doing this because it boils down the complex process of actually making a movie, book, or game down into whoever is the best capitalist. The problem is that the people who are here for just Disney are just going to buy Disney, and ignore whatever competing product you churn out.
The best way to compete with Disney is to offer something they aren't (and, ideally, couldn't).
In the case of streaming services, many of the countries I mentioned before actually condition local market access on having a certain percentage of original works produced in that country. This is why Netflix has a lot of foreign-language originals; they need to meet that national production quota and the easiest way to do that is to just fund a lot of lower-budget productions.[0] Of course, these kinds of laws also put Hacker News into apoplectic fits, and it's also the same bullshit China pulls to get cultural influence in Hollywood; so I'm not going to try and sing their virtues too much.
Thing is, Sweden (or any of the other countries that regularly import most of their culture from America) doesn't need their own Disney. Nor do they need cultural protection laws or a bunch of anglohostile novelists[1]. They just need novelists, in general. Lots of them, and writing works exclusively in Swedish. Cultivating your own literary culture makes it more likely that some of those works will find international success[2], because the kinds of people who read lots of books or watch lots of movies are suckers for novelty.
[0] My current impression, which may be wrong, is that this is how we got Squid Game.
[1] Related note: France acts like the Red Sox of the former brutal colonists club sometimes, and I really find it irksome.
[2] ex. Nobody in the Anglosphere cared or even knew about Polish literature or game development until The Witcher.
I'd say that it depends. I think some cultures seem to have their own creative thing going on that resists the homogenizing effect of American movies and TV[0]. Those cultures don't need to compete with Hollywood. Others might, and that's probably not a winning strategy.
> If you think about production that way, then it just becomes a budget measuring game, and everyone in the industry winds up producing largely similar mass-market works.
This is a pretty common complaint about current media in the US though. So maybe that's already happening?
> The best way to compete with Disney is to offer something they aren't (and, ideally, couldn't).
Oh yes, this was entirely my point. Bollywood, Russian literature, and Manga were three examples I picked out at random. It seems like some cultures produce identifiable examples of this, and others do not. But that might also be more a consequence of which ones I've observed, rather than the cultures themselves.
> Thing is, Sweden (or any of the other countries that regularly import most of their culture from America) doesn't need their own Disney. Nor do they need cultural protection laws or a bunch of anglohostile novelists[1]. They just need novelists, in general. Lots of them, and writing works exclusively in Swedish.
Agreed! Although I suspect that anglohostility is probably a helpful trait if your goal is to resist the encroachment of English. Although that's probably not strictly necessary; my understanding is that anglohostility is characteristic of the French literary scene and not say, Manga. But I could be wrong. I don't think cultural purity laws work.
But the question is, does Sweden have a lot of novels writing only in Swedish in order to preserve and foster Swedish culture and language? Or are they getting swamped with external stuff? I genuinely don't know.
> France acts like the Red Sox of the former brutal colonists club sometimes, and I really find it irksome.
That seems to be the near universal assessment of the France, which is entertaining to me.
> Nobody in the Anglosphere cared or even knew about Polish literature or game development until The Witcher.
Much to the Poles annoyance, I'm sure. The relatively low rate of breakthroughs of non-English works into American culture is interesting though. I'm not sure if that speaks more to Polish literature (in this case) or American media culture.
0 - The funny thing is that the Soviets regularly accused America of being a cultural desert compared to the USSR. It's kind of hard to square the argument that capitalism doesn't produce a lot of (or good) culture with the complaint that Hollywood is part of US soft power doctrine.
Also, even when such media cultures exist, they’re competing against the incredible might of Hollywood, Netflix, Disney, etc. It is very difficult to compete with the budget and production quality that these companies can maintain if you’re a smaller economy. Disney’s revenue last year was 12% of Sweden’s GDP ($65B vs $541B). Sweden would have to sink a massive chunk of its GDP into movies in order to compete with just Disney, let alone all the other streaming services.
My suspicion is that there needs to be not only a tradition to act as a bulwark, but also some national self identity that causes people to reject the homogenizing effect of foreign media. That can either be pride in extant local media (I understand that the Paris novel scene is rather hostile to non-native involvement, for example), or an explicit rejection of the foreign media for more explicitly political reasons.