Transnational Mediations: Negotiating Popular Culture between Europe and the United States

在20世纪和21世纪的过程中，美国媒体不断地被欧洲文化接受、适应和改造。这些富有成效的交流最初基于法国、意大利和美国早期电影业之间的竞争，以及如今S对谷歌或脸书等网络公司的全球主导地位，这些富有成效的交流需要复杂的经济、美学和文化谈判。美国媒体制作为流行的讲故事和娱乐形式树立了标准，已成为欧洲本土制作必须与之竞争的基准。然而，这些谈判的动态和范围一直是模棱两可的，从美国文化帝国主义的例子，到通过改编美国文化产品来颠覆欧洲僵化的社会等级制度。它们往往围绕着大西洋两岸创造性思想的交流以及媒体和艺术作品的交叉滋养。这本书的作者来自九个不同国家的资深学者，他们的研究记录令人印象深刻。他们认为，现在是时候批判性地探索这些文化谈判采取的各种形式了。他们在概念上把它们放在三个跨国研究的指导性范式中：第一，与技术、政治、制度和经济力量相关的文化相遇的概念；第二，文化是通过全球和地区或地方传统的汇合而产生的风格的概念；最后，民族文化之间有争议的交流概念是基于基本特征，或者是基于临时的、临时的和战略性的身份建构。该出版物致力于跨国文化交流的核心领域，包括摄影、电影、时尚、电视和新媒体。它不仅询问美国媒体产品在不同的欧洲文化背景下是如何被接受的，而且还询问它们如何塑造独特但相互关联和共享的欧洲身份的概念。

In the course of the 20th and 21st Centuries, American media have been continually received, adapted and transformed by European cultures. Initially based on the competition among the early film industries located in France, Italy, and the United States and con¬tinuing with today¿s global dominance of web-based companies such as Google or Facebook, these productive exchanges entail complex economic, aesthetic, and cultural negotiations. American media productions setting the stan¬dard for popular forms of storytelling and en¬tertainment have become the benchmark against which local European productions have to compete. Yet, the dynamic and scope of these negotiations has been ambiguous, ranging from instances of American cultural imperialism to the subversion of rigid social hierarchies in Europe via the adaptation of American cultural productions. More often than not, they have revolved around the transatlantic exchange of creative ideas and the cross-fertilization of media and art productions. The authors in this volume¿senior scholars from nine different countries with an impressive track record of research¿believe it is high time to critically explore the myriad forms these cultural negotiations take. They situate them conceptually in three guiding paradigms of transnational research: first, the notion of cultural encounters as interrelated with technological, political, institutional, and economic forces; second, the idea of culture as style created through the meeting of global and regional or local traditions; and finally, the contested concepts of exchange between national cultures being based on essential traits or, alternatively, on provisional, temporary, and strategic constructions of identity. This publication pursues core arenas of transnational cul¬tural exchange including photography, film, fashion, television, and the new media. It asks not merely how American media pro¬ductions were received in different Euro-pean cultural contexts but how they shaped the idea of distinct yet interconnected and shared Euro¬pean identities.