At the cultural level, movies function as consensus narratives, a term that describes cultural products that become popular and provide shared cultural experiences. These consensus narratives operate across different times and cultures. In this sense, movies are part of a long narrative tradition, encompassing “the oral formulaic of Homer’s day, the theater of Sophocles, the Elizabethan theater, the English novel from Defoe to Dickens, . . . the silent film, the sound film, and television during the Network Era.”23 Consensus narratives—whether they are dramas, romances, westerns, or mysteries—speak to central myths and values in an accessible language that often bridges global boundaries.

At the international level, countries continue to struggle with questions about the influence of American films on local customs and culture. Like other American mass media industries, the long reach of Hollywood movies is one of the key contradictions of contemporary life: Do such films contribute to a global village in which people throughout the world share a universal culture that breaks down barriers? Or does an American-based common culture stifle the development of local cultures worldwide and diversity in moviemaking? Clearly, the steady production of profitable action/adventure movies—whether they originate in the United States, Africa, France, or China—continues, not only because these movies appeal to mass audiences but also because they translate easily into other languages.

With the rise of international media conglomerates, it has become more difficult to awaken public debate over issues of movie diversity and America’s domination of the film business. Consequently, issues concerning increased competition and a greater variety of movies sometimes fall by the wayside. As critical consumers, those of us who enjoy movies and recognize their cultural significance must raise these broader issues in public forums as well as in our personal conversations.