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By Katrin Sieg (auth.)

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13 While MEDIA has prioritized commercial viability, EURIMAGES has focused on artistic value, striving to foster cinematic treatments of European identity and cultural diversity. The former attempted to apply the lessons of Hollywood’s success by seeking to strengthen especially pan-European distribution, while the latter helped fund some of the most critically acclaimed European films of the 1990s. Rather than see economic versus artistic orientations as contradictory and associate the former with Hollywood and the latter with Europe, the two were as much connected by “cultural symbiosis” as by economic competition (Forbes and Street 2000, 42).

13 While MEDIA has prioritized commercial viability, EURIMAGES has focused on artistic value, striving to foster cinematic treatments of European identity and cultural diversity. The former attempted to apply the lessons of Hollywood’s success by seeking to strengthen especially pan-European distribution, while the latter helped fund some of the most critically acclaimed European films of the 1990s. Rather than see economic versus artistic orientations as contradictory and associate the former with Hollywood and the latter with Europe, the two were as much connected by “cultural symbiosis” as by economic competition (Forbes and Street 2000, 42).

At the same time, much of the comic energy propelling the plot derives not from these romances but from the competing aims of Scarlett and McNamara. In the tension between the erotically exuberant Scarlett and the controlling businessman McNamara, One, Two, Three dramatizes the fledgling superpower America struggling to balance consumerist pleasures, entrepreneurial rationality, and political imperatives. According to the dictates of comedy, that balance threatens to careen dangerously out of control as the pace of capitalist penetration accelerates, illustrated by the proliferation of Coca-Cola plants on the world map in McNamara’s office.

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