There is a tendency in Film Studies to bemoan the output of contemporary Hollywood in terms of scale. Problems are seen to stem from both the vastness of the current day Hollywood system (the industry), and the shaping of contemporary American film as spectacle (the image). In terms of its industrial sway, concern is raised over Hollywood’s global domination, with emphasis on its control of the overseas market. In Global Hollywood, Toby Miller considers how ‘Hollywood owns between 40 per cent and 90 per cent of the movies shown in the world’ and how ‘Los Angeles-New York culture and commerce dominate screen entertainment around the globe’ (2001: 3–4). Equally, importance is placed on Hollywood’s current involvement and position in ‘vertically-integrated media conglomerates’, in which the major studios ‘serve as the base to dominate a plethora of media industries—from television to film, from home video to cable TV, from publishing to theme parks’ (Gomery 2000: 52–3).
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