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

在20世纪和21世纪的过程中，美国媒体不断被欧洲文化所接受、改编和改造。最初是基于法国、意大利和美国早期电影产业之间的竞争，并延续今天谷歌或Facebook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设定了标准，已经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糊的，从美国文化帝国主义的例子，以颠覆僵化的社会等级在欧洲通过适应美国的文化产品。它们往往围绕着跨大西洋的创意交流以及媒体和艺术作品的相互促进。本卷的作者来自九个不同国家的资深学者拥有令人印象深刻的研究记录，他们认为现在是批判性地探索这些文化谈判的无数形式的时候了。他们在跨国研究的三个指导范式中对它们进行了概念性的阐述：第一，文化遭遇与技术、政治、制度和经济力量相互关联的概念;第二，文化作为通过全球和区域或地方传统的相遇而创造的风格的想法;最后，有争议的民族文化之间的交流概念是基于基本特征，还是基于临时的，暂时的，和身份的战略性建构。该刊物关注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。它不仅要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，而且要问它们是如何塑造独特而又相互联系和共同的欧洲身份的。

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.