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Complete Dissertation Aug 1 Copyright by Courtney Elizabeth Brannon Donoghue 2011 The Dissertation Committee for Courtney Elizabeth Brannon Donoghue Certifies that this is the approved version of the following dissertation: “Lighting Up Screens Around the World”: Sony’s Local Language Production Strategy Meets Contemporary Brazilian and Spanish Cinema Committee: Janet Staiger, Co-Supervisor Joseph Straubhaar, Co-Supervisor Shanti Kumar Sonia Roncador Thomas Schatz “Lighting Up Screens Around the World”: Sony’s Local Language Production Strategy Meets Contemporary Brazilian and Spanish Cinema by Courtney Elizabeth Brannon Donoghue, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2011 Dedication To Brian, Mom, Dad, and Jessica for your enduring love and support. Acknowledgements After spending seven years as a Master’s and Doctoral student in the Department of Radio-TV-Film, many people contributed and shaped my journey and this dissertation project. I am deeply grateful for the support and encouragement from my incredible friends, family, and community of academics and educators. Through the process of two degrees, you helped me to strengthen and develop my own academic voice. Thank you to my all-star committee—Janet Staiger, Joseph Straubhaar, Shanti Kumar, Thomas Schatz, and Sonia Roncador—for all of the time, energy, and patience you poured into this project. Each of you has had a major part in shaping me as a scholar, teacher, and student. Janet, it has been an honor and pleasure to learn from such a prolific media scholar. The first time I met you as an undergraduate, you were approachable and honest. I will always be grateful for our chats and your ability to put every situation into perspective. Your availability, organization, and encouragement kept me going through the entire PhD process. As a teacher, you taught me to approach my students with fairness, understanding, and humor. You are an illustrious model for all of the women (and men) you have trained and I am so proud to count myself among “Janet’s kids.” Joe, from that first global media course to introducing me to Brazil, you have encouraged me to expand my knowledge, experiences, and comfort zone outside of my South Texas childhood. Your enduring idealism and enthusiasm for my developing research, teaching skills, and language abilities made me believe that anything was possible. I will forever remember sitting in your office scheming about ways to get travel for Brazil or lessons on how to conduct field research with industry professionals. You v always listened to my endless graduate student worries and helped me work out a plan to solve them. I can never express my gratitude for all the introductions, conference panels, grant applications, and chats about life. Shanti, you are a brilliant scholar whose rigorous teaching pushed me theoretically and methodologically. You complicated my perception of cultural studies and have forever shaped my language and understandings of global cultural flows. I am grateful for the time you spent offering professional and life advice. With my teaching, you inspired me to thinking outside of the “world cinema” buffet and instead challenge undergrads through current scholarship and in-depth case studies. Tom, you introduced me to the field of media industries studies and continue to inspire my research. Your ability to recall numbers and juicy archival anecdotes will forever amaze me. Thank you for your editorial feedback and challenging questions that helped to clarify and strengthen this project. You have been a huge supporter my teaching style and your encouraging words have meant more than you will ever know. I am additionally grateful to the Department of Radio-Television-Film, Teresa Lozano Long Institute of Latin American Studies, and the Graduate School at UT- Austin for their financial support. I owe my deepest gratitude to Steve Solot and Iona de Macedo, who introduced me to my industry contacts in Spain and Brazil that made the entire Sony LLP analysis possible. Thank you to all of the individuals who took the time to talk to this curious American about their thoughts on the film industry. To everyone in the RTF office, especially Stephanie Crouch, Bert Herigstad, Lee Sparks, and Gloria Holder, you made going to work everyday a pleasure and my life as a teacher flow smoother. Additionally, I would also like to thank all of the professors who vi have encouraged and supported my academic dreams over the years, including Jossianna Arroyo-Martinez, Charles Ramirez Berg, Terrence Hoagwood, and Anne Morey. To my fellow RTFers Sharon Shahaf, Assem Nasr, Kevin Bozelka, Tarik Elseewi, Lisa Schmidt, Andy Scahill, Curran Nault, and Manuel Aviles-Santiago, I will always appreciate the classroom stimulation, research inspiration, and supportive conversation. Additionally, I must thank my RTF family: Kristen Warner, Matt Payne, Katherine Haenschen, Kevin Sanson, and Annie Petersen. KW, you were my shoulder, my mentor, and my sister through all of hard times, pedagogical lessons, shopping trips, and lady lunches. Thank you for helping me to embrace and love my Southern side. Matt, it was a pleasure to share this crazy seven-year journey with you. Your commitment, intelligence, and heart have inspired and challenged me as a scholar more than you will ever know. KH, while you may have set your sights on a larger purpose, your passion, wit, and hilarious anecdotes will remain with me always. Kevin, I loved every minute brainstorming about global media flows, planning field research, traveling to conferences, coffee shopping, and enjoying all things foodie related. Annie, as my yoga buddy, cava sharing, conference roomie, Twitter teacher, and DG sister ITB, your spirit is infectious and has been a major source of strength and confidence. A big thanks to Donna, Martin, Jennifer, and Shannon Donoghue, Alex and Jenny Spadaro, Heather Dooley, and Sharla Kelly Muegge for their continuous kind words and encouragement. Gioconda Parker, your wisdom and insight helped keep me sane and moving forward. Also, I could never have written the diss without Houndstooth Coffee and Monkey Nest. vii Emily and David Brannon, Jessica, Michael, and Samantha Wranosky, your unconditional support, pride, and faith gave me strength throughout this challenging journey. To my incredible parents, you gave me the gift of an education. I am the product of Mom’s passion for writing and classic literature and Dad’s endless knowledge of film and television history. You always have supported the dreams and ambitions of that intense, little six-year-old who declared she would earn a PhD. No matter how far away it took me, you helped make it a reality. Jessica, as a sister and fellow academic, you have been my inspiration and my guide. Thank you for all of the proofreading, career advice, pep talks, “I need to tell you how it is” conversations, and scholarly debates. Brian, I am so blessed to have the most supportive, patient, and amazing partner and husband by my side. You are my foundation, tech support, logical side, and emotional core and have taught me about balance, grace, productivity, and determination. Your quiet strength and calm spirit inspire me to be the best version of myself. I look forward to sharing the next step of this academic journey with you. viii “Lighting Up Screens Around the World”: Sony’s Local Language Production Strategy Meets Contemporary Brazilian and Spanish Cinema Courtney Elizabeth Brannon Donoghue, Ph.D. The University of Texas at Austin, 2011 Supervisors: Janet Staiger and Joseph Straubhaar The local language production strategy (LLP) emerged in the early 1990s and developed into a key practice for major media corporations operating in Latin America, Europe, and Asia. This dissertation analyzes where Sony’s international production strategies intersect transformations in the Brazilian and Spanish film industries during the mid-1990s to 2010. The LLP strategy, widely perceived as a corporate product of globalization and market power of Sony, is simultaneously viewed as a culturally specific media product intended for local Portuguese or Spanish-language audiences using national tax incentive policies and talent. This project provides a multi-layered history of Sony’s trans/national practices, Latin American and European regional industries, Brazilian and Spanish national policies and conditions, and the creative agency and power of local film production companies. Adapted from Timothy Havens, Amanda D. ix Lotz, and Serra Tinic’s critical media industry studies approach and Paul du Gay’s “circuit of culture,” I conducted archival research and on-site field interviews in Rio de Janeiro, São Paulo, Madrid, and Brussels with local producers, distributors, policymakers, lobbyists, and Sony executives. The study is grounded equally in box office data, co-production financing specifics, and cultural policy as well as first-hand accounts and industry discourse. Instead of labeling the LLP another all-powerful strategy of Global Hollywood, I explore the everyday practices, power relations, and complex negotiations involved in local and national agents working alongside large transnational media company to produce commercial films like Chico Xavier (2010) or Salir Pitando (2007). Sony’s local operations have to balance the global corporate strategy and logic with changing local conditions, policies, practices, technologies, and partnerships. Each location study illustrates a unique strategy and situation ranging from the quasi-autonomous operation in São Paulo to the short-lived, highly micro-managed Sony European operation in based in Madrid. I challenge traditional theoretical and industrial understandings of national cinema, media imperialism, media convergence, and the classification of Sony Pictures Entertainment as solely an American or Japanese company. What results is a close institutional analysis exploring issues such as what defines “local” media industries, the flexibility of the nation, and the position of transnational media companies outside the U.S.
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