Following the devastation of Europe in the post-World War II years, it become apparent that the USA had developed a large interest in the way cinema from Europe was to be regulated. As Forbes and Street’s 2000 work ‘Protectionism and Subsidy from European Cinema’ states, “there is ample evidence that the Americans wished to dump films into the European markets”. This was no doubt due to the potential of film on national and popular culture, and the Americans were not eager to see films such as Leni Riefenstahl’s Triumph of the Will . . .

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