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In Europe in 1982, France produced less national programming than it had in the 1970s, at
four-fifths of total and prime time. It increased its U.S. importation marginally in prime time.
From within the European region, France imported less than a tenth of its total and prime time.
Italy also dropped its national prime time to two-thirds, raised its U.S. consumption to two-fifths
of prime time and only chose to import 2% of prime time from the largely non-Italian speaking
European region.
In 1982, Africa maintained slight increases in national production, mostly in prime time.
Nigeria produced two-thirds of its total and nearly all of its prime time programming nationally. It
imported mostly off-peak hour U.S. shows, with one-fifth of its total and none of its prime time
coming from the U.S.
Decreased U.S. Imports in the 1990s, Limited Regionalism in East Asia, More in Latin America
Imports from the U.S. and other major international (non-regional) producers decreased
overall from 1982 to 1991, but they remained relatively stronger in some genres which were not
produced locally or regionally. This was reflected in a decrease in the quantity and proportion of
U.S. and other international productions in broadcast schedules, particularly in prime time.
Nevertheless, some U.S./international genres remained relatively more prominent. Perhaps
because of greater costs of production, the production and export of documentaries, action
adventures, cartoons and feature films were still dominated by industrialized First World nations.
In 1991 the data from Brazil showed an increase in prime time programs from all regions
(Table 1), except the U.S., which showed a marked decrease in its share of the total prime time
programming (Table 2). U.S. comedy was completely eliminated from prime time, while its action
series increased in prime time. Overall, prime time national programming was strengthened from
1982 to 1991, rising up to two-thirds of prime time. Two new regional genres were added where
none existed before: daytime telenovelas and weekday evening telenovelas (Table 3). In total
time, the U.S. decreased in all genres except for the feature film and the daytime soap opera serial.
In Chile, in 1991, national prime time programming remained at over half, regional
programming increased fractionally and U.S. programming increased to nearly one-fifth). Total
programming shows a greater percentage decrease in national programming, dropping to two-
fifths, a greater percentage increase for regional programming, rising to one-fifth, and a decrease
in U.S. programming. Co-productions were seen in the genres of the cartoon and the variety show.
Some of the regional increases were in movies, drama series, children’s entertainment, mini-series,
daytime telenovelas, variety shows, news and comedies.
In 1991, the Hispanic U.S. prime time was 100% regional programming. Total
programming remained the same for national programs from 1982 to 1991, largely news and
Convention