2
importation of television programs, all within the context of a series of interdependent but
asymmetrical relationships, economic, technological and cultural.
First, we focus on television industry dynamics, under which a wide range of capabilities
for television production has evolved. We examine this from a general perspective as well as
studying specific processes relevant to the sample of countries that we have constructed. We will
also address the interaction of television producers with their audiences in the creation of
television genres, because we argue that television flows are becoming increasingly genre-focused
and conditioned by producers’ perceptions of their audiences’ preferences. Those preferences, we
assert, are essentially towards an increased cultural proximity, a desire to see either national, or
similar, regional culture on television most of the time, even though certain U.S. export genres do
retain a place in broadcast schedules and apparently in audiences’ preferences, as well. We
analytically observe how much of a country’s total television broadcast day, as well as their prime
time broadcast period, is occupied by nationally-produced programming, compared to the amount
of programming that is imported from within a country’s cultural-linguistic sphere, from within a
broader international market, or alternately from the United States.
Industry Dynamics: Local, National, Regional, and World
There seems to be a current tendency virtually worldwide to create localized, commercial-
cultural industries, suffering U.S. influence but, as we will argue, also exhibiting interdependence
in international relations and making use of extensively adapted imported genre forms at the
national level. This apparent tendency to accept then modify commercial media models, frames,
and genres has required more theorization beyond that given in the original NWICO. In order to
reach new conclusions, it is extremely important to understand the dynamics of cultural industries
at various levels: local, national, regional, and global (Sinclair, Jacka et al. 1996).
Our approach to cultural industries acknowledges the limits placed on many nations' media
systems by operating from subordinate positions in the world economy, but it also recognizes and
emphasizes the distinct dynamics of each nation or industry's historical development. Key
national issues include the conflicts between domestic and transnational elites, the interests of key
national elites, the forces of entrepreneurial competition, the agendas and actions of key
production personnel and the effects of state intervention, particularly as a policy-maker, a
provider of infrastructure and an advertiser (Mattelart & Mattelart, 1990; Mattos, 1982; (Sinclair,
Jacka et al. 1996); Straubhaar, 1984). Within most nations, there is an increasingly complex and
active development of local cultural industries. Cheaper television production technologies
(Waterman l993) and economic developments permit smaller scale production of television, local
radio, local newspapers or newsletters, local video productions, etc. In turn, these technologies
Convention