The Impact of social media on the Film Industry: Studying the impact of social media platforms such as Twitter, Instagram, and Facebook on the film industry. Analyze how social media influences film promotion, audience engagement with films and actors, and shapes public reactions and cinematic attitudes

Topic:The Impact of social media on the Film Industry: Studying the impact of social media platforms such as Twitter, Instagram, and Facebook on the film industry. Analyze how social media influences film promotion, audience engagement with films and actors, and shapes public reactions and cinematic attitudes

For this part below I’ve uploaded file named “Dissertation Proposal Guide” in word file:

This assignment involves translating your ideas for a dissertation topic into a manageable research project. Instead of asking you to address a particular question by writing an essay, therefore, this assignment requires you to design a 2- 2900 words proposal for a research project. This proposal involves thinking about a particular research topic and showing how you would go about researching it. Whether or not you have yet decided on what you will do for your MA dissertation this is an opportunity to apply what you have studied in this module to the development of a detailed and workable dissertation plan. The assignment will give you a chance to think about a research topic, and will provide you with a feel for the “mechanics” involved in preparing to do a research project. For further advice on the dissertation proposal please see the attached guide.

You will also need to consider whether there may be any significant ethical issues relating to the research that you propose to undertake. Before any member of the University can embark on research involving human subjects they must first obtain ethical approval from the University via the online ethics approval application form (more details are provided in your Student Handbook as well as in Study Week 3 and in the dissertation module MS7620). You will not have to complete the ethics application until you have begun the dissertation module but you should think about potential ethical issues at this point nevertheless (not least because the application process can take from just a few days to several weeks to complete depending on the sensitivity of the research being proposed). If you have any queries about this or other matters relating to research ethics you should contact your Personal Tutor.

For this part below I’ve uploaded file named “Sample Dissertation Proposal” in word file:

This is a sample dissertation proposal for a piece of research concerning audience views of foreign TV content. Ilf you read the proposal closely and critically you may find that a few minor clarifications would be helpful here and there – but try not to be side-tracked too much by these as the purpose of the sample is to illustrate at a more general level the key elements characteristic of a good, effective dissertation proposal.

For example, note how the proposal is neatly and logically structured, and its different sections clearly indicated. Ilts research questions are also identified at any early point, which helps n establishing the relevance of the discussions that follow. It is important that you explain clearly and concisely the main focus of your own proposed research. In this example, the overall aim of the project is not unclear but it could perhaps be a little more precisely stated. In the Introduction, for instance, there are five interrelated research questions but there is no indication of any priority among them, suggesting they are all of equal importance in the study. That is not necessarily a problem but it can sometimes be beneficial to establish a single research question as a key focus or principal aim for the project as a whole, around which all the other questions may coalesce. Possibly (in this case) this could be drawn from one of the five questions just mentioned or it could be a separate statement of the project’s overall research goal. In your own proposal, however, make identify cleary al trhtare nverall design sure to identify clearly and explicitly what your main focus or research question is.

Note how the rationale behind this study’s overa ll design is well argued and that clear justifications are offered for the focus on France (and US content) and for the particular theoretical and methodological perspectives indicated. Note also that the literature review concisely pulls out key points of relevance from a range of supporting literature (and so rather than just identifying such literature, it actually says something about it).

Notice that the proposal identifies its theoretical foundations clearly and explicitly by discussing two contrasting perspectives and then explaining clearly its adoption of one of those perspectives over the other. Such a direct contrast is not always necessary (it is appropriate in this case but may not be so in others, depending on the topic and the research questions) but, by whichever means, in your own proposal you should likewise aim to identify a similarly explicit theoretical foundation or context.

It is equally important that you explain clearly your methodological design choices. Notice how in this example there is a clear explanation of the methods chosen, of the aims behind their use and of their limitations. The author reflects critically on his/her proposed research design, and it is important that you aim to do the same in your own proposal.

The brief review of potential key themes and the provisional outline of the dissertation itself are both good ways.

VERY IMPORTANT NOTE:

My supervisor wrote comments on previous works the first and second one, I’ve uploaded them in compressed file with comments. Read carefully everything!

*** Words count = 2900 words.

*** In-Text Citations and References using Harvard style. (If needed).

*** Two PDF file has been uploaded named “Dissertation Proposal Guide” and “Sample Dissertation Proposal”.

*** Comments has been uploaded in compressed file.

Requirements: As mentioned

DISSERTATION PROPOSAL GUIDE (MS7619) UNIVERSITY OF LEICESTER 1 DISSERTATION PROPOSAL GUIDE (MS7619)

DISSERTATION PROPOSAL GUIDE (MS7619) UNIVERSITY OF LEICESTER 2 Formulating a Research Proposal: Some Guidelines1 As indicated in the Introduction to study weeks 18-20, this assignment requires you to formulate a proposal for your own dissertation project. The point of this task is to familiarise you with the formal steps involved in systematically planning a research project. Ideally, this exercise will give you an opportunity to think in depth about your MA dissertation and how to plan its organisation. Even if you’re not yet ready to commit yourself to a particular project, developing a dissertation proposal will help you think about how to formulate your topic and how to go about turning what may start as a vague idea into a good study. Bear in mind that our main concern in this assignment is that you focus in particular on research methods and the issues they raise. This means focusing on what methods you would use for a particular subject, the methods that have been used in the past, as well as the strengths and, importantly, limitations of different methodologies for studying the subject you have identified. What follows, then, is essentially a step-by-step guide to what the proposal should include. Please remember, though, that your own experiences and your reading from the academic literature might on occasion suggest other ways for organising the proposal. However, it is important to see the following as at least a minimum set of requirements. Any research proposal must address the following points, if not in the same manner. 1. Introduction and identification of the project topic The opening section of your research proposal identifies the topic that you plan to study. It offers a preliminary description of the topic and states why it is relevant or important to study it. Here you will want to consider some of the points raised by Wimmer and Dominick (2014) in study week 1 about topic selection and relevance, defining the topic and determining the scope of the research involved (see ‘Science and Research’ in the reading list for study week 1). Your statement of topic and relevance should be as concise as possible. You should also explain why you want to study this topic. You will also need to bear in mind the practical constraints of time and resources that you would need to take into account within the parameters of the MA course. 2. Literature review and contextualising the topic within existing knowledge This section moves you beyond a simple statement of the topic and into a review of the literature that already exists about it. Here there are really several things you need to be aware of: first, you need to be concerned about getting a broad survey of the relevant literature, or at least as broad a survey as you are able to develop on the basis of materials that have been provided. This involves identifying books, journal articles, archival materials, popular literature, etc. that may be relevant to your topic. The second thing that needs to be done is to summarise how the literature has treated the topic. What approaches have been used to study 1 Adapted from an original text by Dwayne Winseck (1995), revised by Roger Dickinson (2008).

DISSERTATION PROPOSAL GUIDE (MS7619) UNIVERSITY OF LEICESTER 3 the topic? Is there a history of research into this topic? What are the significant findings that can be drawn from the literature? What seems to be missing from the literature? The latter question is especially pertinent, and indeed may provide the raison d’etre for your own project, since you are, ideally, trying to contribute new knowledge rather than “reinventing the wheel”. At the very least, your proposal should include an appendix listing the relevant literature. To go further, you might want to provide an annotated bibliography, i.e. a reference list with a short note about what each of the reference entries are about. 3. Consideration of the relevant theoretical perspectives on your topic This section involves considering the different theoretical perspectives that have been, or can be, used to study the topic you have chosen. What are the dominant theoretical perspectives on the topic revealed by your literature review? Are they adequate to the task at hand? What problems have been identified with different theories in your selected area of study? Are there major “intellectual debates” among researchers about theory in your topic area? In your proposal you should identify which theoretical frameworks seem most appropriate to your study and explain why they are so. You should also consider whether or not there are certain theorists that you expect to draw on. In doing so, you should offer reasons for your choice and identify some of the key theoretical concepts, propositions and/or hypotheses that you plan to employ. 4. Methodological considerations After identifying your topic, the relevant literature and suitable theoretical perspectives, you need to consider which method, or methods, are most appropriate for your study. Given the methodological emphasis of this module, the bulk of your proposal should focus on these issues. Will you use quantitative survey analysis, ethnographic methods, content analyses or interviews, for example, to conduct your study, and what makes any one of these ‑ or a combination thereof ‑ appropriate to the topic you have selected and defined? Here you need to reflect on the features of particular methods that make them suitable for your research topic and also to consider the particular ways in which your methods delineate and set boundaries around the topic. Furthermore, it is also useful to identify “methodological debates” within the literature surrounding your topic and to consider how these may affect your own study. After selecting a method and indicating its appropriateness to your topic, the proposal requires that you (a) indicate how you would employ such a method and (b) critically analyse the way it has been used by other authors. The first step might involve, for instance, showing what kind of materials you would draw on, and what factors might shape your selection of and access to such materials. If you are going to conduct a survey, you might want to draw up a proto‑type of a questionnaire or interview schedule. You would also need to indicate how the questions asked relate to the things you are trying to find out about. In addition, you

DISSERTATION PROPOSAL GUIDE (MS7619) UNIVERSITY OF LEICESTER 4 would need to indicate the methods you would use for analysing, interpreting and presenting the findings generated by your research. Similarly, if you plan on doing content analysis, you must indicate how you might go about sampling material for inclusion in your study, and give some thought to the type of coding schedule you would draw up. Of course, these are just examples and are in no way exhaustive of the possibilities. The main point to note is that you must use the proposal to show:  what method you will use,  indicate why this method is appropriate to your topic,  suggest relationships between method, theory and topic area,  demonstrate a critical awareness of the strengths and weaknesses of a method through critical analysis of others’ use of such methods,  indicate that you have some idea of how to put the method into use. 5. Identifying key themes to be pursued in your project After having done all the above, certain themes associated with your topic will probably emerge as likely lines of inquiry. Try to identify these and narrow them down to a limited range of issues that you think are most central to your investigation. Here you might even want to reflect on what your current thinking is about these themes, and to suggest some of the points that you think would prove interesting upon further investigation. This is an excellent place to take stock of your own “common‑sense” knowledge about the subject which you can then use to compare and contrast to “the literature” as well as future developments in your thinking. As we all already have pretty well formed ideas about the things we’re interested in, this is a point where you can candidly lay out your “pre‑reflexive” ideas in order to knock them down or confirm them during and after the course of your study. 6. Preliminary sketch of how your dissertation will be organised This is the final substantive section of your proposal. In it you need to imagine your dissertation as it will look when it is completed. Doing this mainly involves outlining the chapters that will be in the dissertation once it is completed. A dissertation will usually include an introduction, theory and method sections, a preliminary, contextual or historical discussion of the topic, a main body where the key issues/findings are discussed and a concluding chapter. Of course, this is not a rigid prescription for writing a dissertation – a great deal will depend on the nature of the topic you have selected and how you plan to present it. What you must do, however, whatever your topic, is provide a breakdown of the chapters and any sub-headings that might be found in each.

FRENCH TELEVISION QUOTAS French Television Quotas in the Modern Viewing Era (Author’s Name) University of Leicester

FRENCH TELEVISION QUOTAS 1 Introduction This research proposal concerns the use of quotas to limit foreign programming on French television, particularly in light of the advent of on-demand and streaming services that give audiences more choice over the content they view. With an emphasis on American vs. French programming, I will examine how the ratios imposed by these quotas compare to actual programming and audience share, how viewers go about selecting US vs. French content, and how they interpret it – especially to what degree they identify with the characters, values and situations on French and foreign television shows. France is a particularly relevant focus for such research as the country has been a leader in promoting cultural exception (“l’exception culturelle”), or the exemption of cultural products from free trade agreements in the interest of protecting national culture and cultural diversity, since the 1993 GATT accord. It is generally assumed that American content – and a belief in the threat of US cultural hegemony – is the greatest motivation for such protectionist measures in France (Gordon & Meunier, 2001). French cultural protectionism applies to cinema as well as to broadcasting; in the latter case it involves a two-pronged approach consisting of subsidies for domestic production and of quotas requiring that 60 percent of television output be European and 40 percent of it French (Ministère de la Culture et de la Communication, 2003). Despite arguments that the quota system is obsolete in the modern age of television viewing (The Economist, 1998; Messerlin & Parc, 2014), France appears set to extend quotas to services such as Netflix (Madelaine, 2016). The increasing presence of these new viewing platforms calls for a reevaluation of content policies.

FRENCH TELEVISION QUOTAS 2 Using both quantitative and qualitative methods, I will address the following questions: 1. How does programming share compare to audience share of American-to-French television content? Does this ratio vary across platforms? 2. What distinctions do viewers make between French and American programming? 3. Is there a correlation between the amount of American programming a viewer watches and how favorably he or she views the culture? Does this vary based on platform preferences or other factors? 4. How do viewers feel about quotas and US cultural influence? Do their opinions differ depending on how they access content? 5. Do viewers seek out French content and/or rely on certain platforms to provide it? Literature Review Significant literature exists about the perceived “Americanization” of French culture. In Seducing the French: The Dilemma of Americanization, Kuisel (1993) offers an historical account of French reaction to US presence and influence in politics, the economy and culture. He concludes with the observation that while the French have been wary of Americanization for fear that their national identity is at risk, it has “neither obliterated French independence nor smothered French identity” (p.233). A recent Pew Global Attitudes survey (Pew Research Center, 2012) reveals that while concerns over American cultural influence persist in France, views of American movies, music and television have improved and are markedly more positive among younger sectors of the population. Many economists have attempted to quantify the impacts of foreign content and protectionist policy. Bala and Long (2004) aim to locate the effects of free trade on culture and propose a model showing

FRENCH TELEVISION QUOTAS 3 that “in the long run, free trade may result in the demise of cultural diversity: a relatively small country may gradually lose its cultural identity when it engages in free trade with a larger country that has a different preference pattern” (p.144). Peltier (1999) focuses specifically on the impact of diffusion quotas on French audiovisual production, concluding that they are relatively ineffective in their current form. Disdier et al (2010) analyze the extent to which baby names given in France from 1967 to 2002 were influenced by foreign media by relating naming patterns to characters and performers in films, on television and in music. The authors find that five percent of babies would have had different names in the absence of foreign media and conclude that changes in domestic culture brought on by foreign media are present but relatively modest. Perhaps the research that best complements my proposed study has been conducted by the economist Messerlin (2015), who focuses on the effects of subsidies rather than quotas but whose work is notable for its empirical approach comparing the evolution of subsidy rates in French film and television with an indicator of the “attractiveness” (rayonnement) of French culture. He notes “skyrocketing subsidies” from 2000 to 2013 for both film and television juxtaposed with stagnant and declining French attractiveness respectively. Messerlin measures the attractiveness of cinema in terms of the number of admissions to US vs. French movies in French cinemas but finds an equivalent indicator for television more elusive, citing difficulties stemming from the internet-driven transformation of the television sector. “Today, the abundance of foreign and thematic TV channels in broadband is such that every French (sic) can watch TV in France without ever watching a French movie, a French TV-work or even a French TV-channel. Second, an increasing number of TV watchers (especially young ones) make their ‘own’ TV channel based on compilations from Youtube and its equivalents which include (or not) French movies in a proportion impossible to measure” (p.21).

FRENCH TELEVISION QUOTAS 4 My research will build on Messerlin’s while attempting to find an effective way of evaluating the attractiveness of French vs. US television programming. I recognize the challenges of creating such an indicator in light of new ways of consuming content and I propose that an ethnographic approach will offer a richer understanding of how audience members select and value content across multiple platforms. This approach will allow me to analyze French protectionist policy in terms of its cultural impact and offer a critical look at the rationale driving such policies. Theoretical Perspectives The proposed study relates to the debate between the cultural imperialism thesis and the active audience approach. A thorough understanding of the theory behind cultural imperialism is required to understand the rationale of cultural protectionism (Tomlinson, 1997), and my research will be informed by previous findings of cultural change as a result of foreign influence on local markets. Schiller (1971/1995), for example, offers a political economy perspective on the history of American dominance of media in Mass Communication and American Empire and states that “American shows, written exclusively to serve the ends of goods producers, are gobbling up the international TV market” (p.197). The author later suggested that rather than US domination, the issue might better be described as transnational corporate cultural domination, albeit with a “marked American input” (Schiller, 1991, p.15, cited in Morley, 2007, p.33) – a relevant distinction when discussing multinational companies such as Netflix, Amazon, Orange and Vivendi (owner of Canal+). I will look for evidence of such domination in patterns of media consumption and in the observations of audience members.

FRENCH TELEVISION QUOTAS 5 However, I take the stance of critics of cultural imperialism who note its hypodermic model of media and their supposed effects on the audience (Morley, 2007), and I will look to opposing viewpoints by scholars such as Straubhaar (1991), who shifts focus to the active audience with his concept of “cultural proximity” – the idea that audiences will tend to prefer the programming that is closest to their own culture. My approach will be rooted in the active audience approach and informed by the methods of Ang (1991/1995) and Liebes and Katz (1986/1995). I am particularly interested in Ang’s examination of how television viewers “express their attitude to the ideology of mass culture” (p.526), and I will be looking for viewers’ attitudes toward what they perceive as the ideologies conveyed via American programs. Likewise influenced by Press (1989/1995), whose feminist research relied on open-ended, unstructured interviewing to examine “the way television is perceived, experienced, and used” (p.428), I intend to focus not only on how audiences actively make meaning but on how they, increasingly, actively choose content from the numerous platforms on offer. Morley offers a caveat in conducting audience-focused research: “We should not mistake activity for power and we should recognize that the consumer’s ability to choose options from within a preset menu is a very limited form of power, compared to that of the institutions that construct those menus” (2006, p.115). It is for this reason that I intend to approach my research with a perspective that Morley (2007) advocates – that is, one that can deal both with questions of the audience and with those posed by a political economy approach. I intend to review the wealth of political economy research on the subjects of French audiovisual policy, cultural imperialism and cultural protectionism to better understand the questions of power and ideology involved. To this literature I will contribute an audience-focused analysis of how television is “used” in daily life.

FRENCH TELEVISION QUOTAS 6 Methodology This study will employ a mixed-method approach combining quantitative and qualitative analyses, including an analysis of television programming and viewing on a macro scale as well as semi-structured interviews and self-completed diaries intended to shed light on audience behaviors and views. I will begin by analyzing the French television schedule to determine the programming share of American vs. French content at the popular time of 9:00pm and will compare these figures to the audience share of American vs. French programming during the same time slot. Samples will be obtained using a method suggested by Hansen and Machin (2013) of gathering data from one continuous week of programming plus one “rolling” week – Monday of the first week, Tuesday of the second, etc. A programming schedule can be found at telerama.com, while audience figures might be obtained from the French audience measurement company Médiamétrie. This content analysis will have the advantage of being relatively straightforward to carry out and of potentially helping to identify trends and patterns that may be relevant to my subsequent research (Hansen & Machin, 2013). In utilizing data from a single time slot, my findings may minimize certain programming practices, particularly with regards to what some view as the “dumping” of American television shows on the international market (Prowda, 1996) – a practice that is arguably evidenced by long programming blocks of US series on daytime television. However, prime time hours (heures de grande écoute) are the main target of quotas (Ministère de la Communication, 2003) and focusing on this time will result in a manageable data set consisting of the most-watched and talked-about programming – an important feature given what Morley calls “the subsequent social processes of discussion and ‘digestion’” of television and their importance in the construction of meaning (1986/1995, p.524). If possible, I would like to extend this analysis to other television services such as Netflix; additional platforms and

FRENCH TELEVISION QUOTAS 7 services to be examined might be identified in the pilot phase of my semi-structured interviews, in which respondents will be asked to list the ways in which they access television content. The bulk of the study will consist of semi-structured interviews with television viewers conducted in French and including both open- and closed-ended questions related to viewing habits, programming and platform preferences, and observations about French and American programming. A pilot phase will help perfect the formulation of closed-ended questions and test out various open-ended questions. Some of the more structured questions might include Likert scales concerning views on French and American programming and ranking questions in which respondents will self-report their preferred television platforms. These answers will have a coding schedule applied to them so that they may be used as quantitative data and will allow me to sort respondents accordingly. However, in the tradition of Ang’s Dallas study (1991/1995), participants’ testimonies will be the main focus and will be used to provide qualitative data on how viewers make choices and form opinions in the complex landscape of television currently available to them. In the pilot phase I will conduct interviews with a few respondents identified as avid television-watchers. I will use the results to refine the interview guide and will then use purposive sampling to obtain a larger sample of upwards of 30 diverse television viewers. As this is not a probability sampling method, the resulting sample will not represent the population as a whole, meaning that findings cannot be generalized (Bryman, 2016). However, I am most concerned will my sample’s ability to represent viewpoints from a spectrum of viewers varying in age, geographic location and preferred modes of accessing television programming; being able to select these viewers will allow me to maximize variety within a small sample group.

FRENCH TELEVISION QUOTAS 8 Among drawbacks of audience ethnographies such as this one, Fiske (2011) points to the potential effects of the investigator’s presence, particularly in light of the friendly approach taken by some ethnographers. As an American myself, my asking questions about American television and culture may affect responses in any number of ways. With this in mind, I propose to conduct interviews online. Markham states that email interviews, compared with other online methods, “may be better suited to participants who have busy schedules and desire time to consider their responses, but may be unsuitable for users more familiar with shorter, more immediate forms of interaction” (2008, p.455). I opt for email because of its potential to encourage well-considered responses and for its likelihood of being a more comfortable means of communication for a larger number of respondents than, for example, a chat interface, which may be less familiar for some. While rapport may be more difficult to establish in avoiding a face-to-face approach, the major advantage is that respondents will not be reminded of my nationality throughout a long interview. These interviews also offer a slight advantage over focus groups, another method for gathering qualitative data of this nature, in that they will allow me to reach a more geographically diverse sample. In a final phase of the study, I will ask a handful of the interviewees to provide self-completed diaries documenting their television viewing across all platforms over the course of one week. My interest here is in how a single viewer potentially uses different platforms for accessing different types of content and even comes to rely on these varied platforms for accessing a full spectrum of content. This method does offer the advantage of making it possible to plot viewer behavior from day to day (Mytton, 1999), and I will aim to identify habits and patterns that can be quantified throughout the small sample of viewers, but I will mainly examine the data from a qualitative standpoint. The goal will be to triangulate findings or, short of that, to further illuminate audience activity, using a method

FRENCH TELEVISION QUOTAS 9 that provides a fairly accurate account of media behavior (Mytton, 1999). This process will also serve to extend the period of contact with my informants, a quality that Seiter (1996) calls a hallmark of the best ethnographic audience methods. Mytton (1999) states that self-completion diaries tends to result in higher figures for viewing than do surveys; however, as the goal of the diary will be to analyze each viewer’s relative use across platforms this should not be a significant problem. He also notes the possibility of errors of omission and a tendency to fill in based on habitual rather than real activity, issues that I hope to address by setting up a daily email or text reminder to respondents. Lastly, he notes the possibility of inaccuracies due to respondents’ desire to please or impress through their viewing behavior, an issue I hope will be avoided by the more impersonal rapport of online interviews. Mytton notes that qualitative methods do not indicate how widespread a behavior or set of attitudes is, but help “create hypotheses that can be tested quantitatively” (1999, p.145). I intend my study as a preliminary one that might point the way toward future avenues of research. While using multiple methods has the possibility of producing large amounts of data (Seiter, 1996), I believe the sample sizes and methods chosen will yield a manageable amount of data while providing a more complete sense of audience behavior than any one method alone. Key Themes I will be looking for insight into the ways in which audience members choose, react to and interpret the content they view. I am interested in how viewers position themselves with respect to programs – for example, watching with pleasure, critical awareness, or ironic detachment, as Ang (1991/1995)

FRENCH TELEVISION QUOTAS 10 discusses – and how a sense of French national identity might affect this process. I would also like to see how French audiences – with their culture of protectionism and their wariness of American influence – compare to what Liebes and Katz call “involved groups” – those more “traditional” groups that “perceive themselves or their culture as more vulnerable” to a program’s ideology, “while in practice they may be better ‘protected’ from it” (1986/1995, p.502). When analyzing viewers’ preferences for French vs. American programming, I will be looking for evidence of Straubhaar’s aforementioned concept of cultural proximity, as well as evidence among viewers of a sentiment expressed by Delacroix and Bornon: “one of the most compelling arguments against protectionism in general is that it allows bad products to displace good ones” (2005, p.372). My sense is that audience members do tend to prefer American programming, especially the younger viewers, and that a high perceived production quality is a major reason. I expect that most viewers will have a favorable view of American programs and that they will report turning to new platforms mainly for access to American television shows. However, I also believe the French feel a distance between their own culture and the American culture they see portrayed on television, maintaining a sense of “us vs. them” in terms of the values, characters and situations they encounter. I expect that they may display some of the “critical awareness” Ang discusses and that they will indeed exhibit some “protection” from the potential cultural influence of US programming.

FRENCH TELEVISION QUOTAS 11 Outline I propose to structure my dissertation as follows: Introduction The “exception culturelle”: a contextual/historical discussion – The history and rationalization of French protectionist policy – Continuing relevance (Transatlantic Trade and Investment Partnership (TTIP) negotiations, advent of new platforms) Literature review – Political economy research on protectionism and cultural imperialism – Relevant audience-focused findings and the need for further audience research Theory – Cultural imperialism vs. active audience – New audience research Methodology – Part 1: programming vs. audience share – Part 2: semi-structured interviews – Part 3: self-completed diaries Key issues/findings Conclusion – Observations – Suggested further research

FRENCH TELEVISION QUOTAS 12 Conclusion My proposed study sets out to provide an audience-based perspective on the use of quotas in French television, particularly in light of the many new modes of television access available. The findings will complement political economy research on cultural exception and the implications of cultural protectionist policies. It is intended as a preliminary study within a domain that is becoming increasingly relevant as new television platforms multiply, bringing with them the potential to introduce increasing amounts of US programming to the French audiovisual market.

FRENCH TELEVISION QUOTAS 13 References Ang, I. (1995) ‘Dallas and the ideology of mass culture’. In O. Boyd-Barrett & C. Newbold (eds.), Approaches to Media: A Reader (pp.525-530). London: Arnold. (Reprinted from Watching Dallas, pp.102-11, by Ang, I., translated by Couling, D., 1991, London: Routledge) Bala, V. and Long, N. V. (2004) ‘International trade and cultural diversity with preference selection’. European Journal of Political Economy, 21(1), pp.143–162. Bryman, A. (2016) Social Research Methods (5th ed.). Oxford: Oxford University Press. Delacroix, J. and Bornon, J. (2005) ‘Can protectionism ever be respectable? A skeptic’s case for the cultural exception, with special reference to French movies’. Independent Review, 9(3), pp.353-374. Retrieved from http://www.independent.org Disdier, A.-C., Head, K. and Mayer, T. (2010) ‘Exposure to foreign media and changes in cultural traits: Evidence from naming patterns in France’. Journal of International Economics, 8(2), pp.226-238. doi:10.1016/j.jinteco.2009.12.001 Fiske, J. (2011) Introduction to Communication Studies (3rd ed.). London and New York: Routledge. Gordon, P. H. and Meunier, S. (2001) The French Challenge: Adapting to Globalism. Washington, DC: The Brookings Institution.

FRENCH TELEVISION QUOTAS 14 Hansen, A. and Machin, D. (2013) Media and Communication Research Methods. London: Palgrave Macmillan. Kuisel, R. (1993) Seducing the French: The Dilemma of Americanization. Berkeley: University of California Press. Retrieved from http://ark.cdlib.org/ark:/13030/ft4w10060w/ Liebes, T. and Katz, E. (1995) ‘Patterns of involvement in television fiction: a comparative analysis’. In O. Boyd-Barrett & C. Newbold (eds.), Approaches to Media: A Reader (pp.531-535). London: Arnold. (Reprinted from European Journal of Communication, 1(2), pp.152-4, 166-70, Blumer, J. G. et al, eds., 1986) Madelaine, N. (2016, May 17) ‘Exception culturelle européenne en vue pour Netflix et la VoD’. Les Echos. Retrieved from http://www.lesechos.fr Markham, A. N. (2008). ‘The Internet in qualitative research’. In L. Givens (ed.), The Sage Encyclopedia of Qualitative Research Methods, pp.454-458. Thousand Oaks, California: Sage. Messerlin, P. (2015). ‘The French audiovisual policy: an evaluation’. To be published in N. van der Broek & H. Lee-Makiyama, 2016, Digital Trade, the Internet and Europe. Kluwer Law. Mimeo. Retrieved from http://www.ecipe.org (forthcoming)

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FRENCH TELEVISION QUOTAS 17 Straubhaar, J.D. (1991) ‘Beyond media imperialism: Asymmetrical interdependence and cultural proximity’. In Critical Studies in Mass Communication, 8(1), pp. 39-59. doi:10.1080/15295039109366779 The Economist (1998, September 12). ‘Moreover: Culture Wars’, pp.97-99. Retrieved from http://www.economist.com/node/164859 Tomlinson, J. (1997) ‘Cultural globalization and cultural imperialism’. In Ali Mohammadi (ed.), International Communication and Globalization (pp.170-190). London: Sage.

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