Category: ACIC “Ticker”

Hollywood films dominate Top 200 all-time biggest grossing films globally

If you want to get an idea of just how predominant American Hollywood films are globally, take a look at the Box Office Mojo all-time top grossing films page. The page, or, really, pages list(s) the top global grossing films according to box office receipts and includes 1,000 films.  American Hollywood films – and films originally produced in English – dominate this “global” list.

Here are some of the highlights from the list, which underscore the continued predominance of American Hollywood films globally, at least when dominance is measured by way of money produced:

1. All of the Top 20 grossing films, globally, are Anglo-American produced films originally produced in English.
2. All of the Top 50 grossing films, globally, are Anglo-American produced films originally produced in English.
3. All of the Top 100 grossing films, globally, are Anglo-American produced films originally produced in English.
4. The very first non-Anglo-American film to break into the Box Office Mojo all-time top 1,000 grossing films, globally, is a Chinese film, Ne Zha, released in 2019. As of Sept. 28, 2020, it was ranked at No. 115. Globally, at that time, Ne Zha had garnered $726 million in box office receipts. Meanwhile, in the United States – and this a perfect example of American Cultural Insularity in the Center (ACIC) – Ne Zha had made only $1 million in box office receipts.
5. Detective Chinatown 2, another Chinese film, ranks at No. 187 on the Box Office Mojo all-time list as of Sept. 28, 2020, with $544 million in box office revenue. Meanwhile, the film earned less than $2 million in the United States.
6. Just two of the Top 200 all-time grossing films globally are produced in a non-Anglo-American country, both in China. Both of those films did extremely poorly at the box office in the United States, offering further evidence of American Cultural Insularity in the Center and of un-even cultural flows and hierarchies. Cultural flows have historically skewed heavily in an outward direction from the United States with barely even a trickle of foreign films flowing in the other direction into the United States, at least when flow is measured by way of box office receipts, which is a powerful indicator of both political economic and cultural might.

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