Neopluralism and globalization: the plural politics of the Motion Picture Association

ABSTRACT

This article examines the transnational politics of the Motion Picture Association (MPA), the trade association of Hollywood major studios, from the viewpoint of the neopluralist. The MPA aims at stopping copyright violations by framing materially and discursively markets. For this reason, it maintains a worldwide spectrum of relations with other business associations, workers of the motion picture industries and governments. These relationships serve the MPA in a multitude of ways, from intergovernmental negotiations and litigations to anti-copyright violation efforts in association with law enforcement. Although the MPA has acquired an authoritative position beyond audiovisual sectors, its policy remains unachieved owing to pluralizing world spheres. This neopluralist perspective underlines first the fundamentally multicentered, crosscut and fragmented aspects of globalized politics which lead actors to resort increasingly to coalitions. Second, it takes a broader perspective at politics showing not only the strengths but also the weaknesses of assumed all-powerful organizations. Third, neopluralism argues strongly for a reconsideration of the dominant views on firms, economies and governments in international political economy.

KEYWORDS:

• globalization
• transnationalization
• pluralism
• pluralization
• Motion Picture Association
• Hollywood

ACKNOWLEDGEMENTS

The author would like to thank Margareta Lelea, Jenifer Taylor, Jeffrey Diamond and the three anonymous reviewers for their critical comments. Alexandre is also grateful to Philip Cerny and John Groom for their encouragements and observations.

Disclosure statement

No potential conflict of interest was reported by the author.

Notes

1. Although formally separated, the Motion Picture Association of America (MPAA) and the Motion Picture Association (MPA) are closely intertwined, as their lobbying combines domestic and global policies. In this article, I will not distinguish the two organizations. Both have their headquarters in Los Angeles, while they have offices in Washington, DC, Brussels, Mexico, Mumbai, Singapore, Sao Paulo, Seoul, Sydney, Tokyo and Toronto. Cf., www.mpaa.org.

2. MPA′s members are the major studios of Hollywood, namely the Walt Disney Studios Motion Pictures, Paramount Pictures Corporation, Sony Pictures Entertainment -- which bought the Columbia-Tristar studios and the Metro-Goldwyn Meyer studios -- Twentieth Century Fox Film Corporation, Universal City Studios and Warner Bros Entertainment.

3. This statement is quoted from the webpage: www. mpaa.org/our-story.

4. I will define framing as the activity of setting schemes of interpretation and perception and of encouraging certain practices and consumption behavior. In the present case, the MPA intends to shape materially and ideationally the legal, economic, cultural and social contexts of world sphere. My approach is much broader than the one of media and communication studies (Goffman, 1974; Vliegenthart and van Zoonen, 2011). On the subject, see also Keck and Sikkink (1998), Tarrow (2005) and Dobusch and Quack (2013).

5. Global governors are defined as ′actors who exercise power across borders with some degree of legitimacy and continuity for purposes of affecting policy in an issue area. Governors thus: create issues, set agendas, establish and implement rules or programs, and evaluate and/or adjudicate outcome′ (Avant et al., 2010: 2).

6. Transnational activists refer to ′people and groups who are rooted in specific national contexts, but who engage in contentious political activities that involve them in transnational networks of contacts and conflicts′ (Tarrow, 2005: 29).

7. The MPA is similar to trade organizations which promote and defend their industry, sector or companies, such as the Recording Industry Association of America or the Pharmaceutical Research and Manufacturers of America. Regarded as the spokesman of Hollywood motion picture, and more widely of audiovisual workers, the MPA has defended its member-studios′ interests domestically and globally, benefiting from an estimated budget of $70 million (Mullins and Fritz, 2014). The magazine Fortune called it ′the most powerful entertainment lobby′ (Paige, 1999).

8. Although many studies deal with the MPA (Lee, 2008; Miller et al. 2005; Mingant, 2010; Trumpbour, 2002), most of them underscore the power of the MPA supported by its member-studios and the United States. Generally, these analyzes use the concepts of center--periphery relations, the international division of labor, imperialism and hegemony. In these frameworks, the MPA heavily contributes to the reproduction of capital, setting the necessary legal, economic and social stages for the latter to happen. In a corporatist manner, major studios collude to predominate successfully at the international level. Besides, they internally preside over the Hollywood milieu which is depicted as a very much structured sector. In sum, according to these scholars, not much has changed since the classical period of the ′studio system′ (Gomery, 2005).

9. The pluralist approach holds four main assumptions (McFarland, 2004). First, the model of policymaking process consists of the complex interrelationships of many units which shift over time, adjust mutually and exert an impact on their interests (Bentley, 1908; Lindblom, 1977). Although this model can comprise an unequal balance of power and the existence of oligarchical control, it gives a major place to issue network, coalitions, countervailing interest groups based on material and ideational interests. Second, the political system is divided into many specific domains where power and policy processes are analyzed. Such an issue-area perspective is a clear stand against quick generalizations on policymaking and power. Third, the political power is observed in terms of intended causation and behavioral change while capabilities are only viewed as resources. Consequently, power is a processual and uncertain result of interactions, strategy and capabilities, which is likely to change over time and according to issue-areas. Finally, interests are given by actors themselves or inferred by the observation of their behavior. Processes of interaction may bring about a redefinition or reinterpretation of the interests. In this matter, questions of non-issues and quiescence require specific attention in the study of power (Bachrach and Baratz, 1962; Lukes, 1974). For this reason, agenda setting and issue framing will be closely examined.

10. See the webpage at www.mpaa.org.

11. There are more than 30 Advisory Committees whose members are generally appointed by the US Trade Representative and the Secretary of Commerce. One of the most influential advisory assemblies is the Advisory Committee for Trade Policy and Negotiations which consists of 45 members nominated by the US President for two years. Cf., www.IIPA.com.

12. Interview with an MPA Vice President in charge of the global fight against piracy, Encino, August 2005.

13. The transnational aspect of illegal counterfeiters makes state control difficult and the global policy of the MPA all the more crucial (Salles, 2005). Indeed, counterfeiters rely on worldwide networks which quickly distribute their products. According to one of MPA senior executives, a study on Star Wars Episode 1: The Phantom Menace showed that, only a week after its release in the United States, pirated copies were on sale in the Pacific zone from Malaysia to Australia (Wang, 2003). Since this study, this trend may have accelerated with the rise of the Internet. Moreover, reports mentioned the resort to elaborate means, such as tunnels with electric railway and submarines for transportation (The Hollywood Reporter, 2003).

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Alexandre Bohas

Alexandre Bohas is a researcher and lecturer in IPE. He has published in Global Society and Inaglobal, and authored the books Disney: Un capitalisme mondial du rêve and, with Professor Josepha Laroche, Canal+ et les majors américaines.