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While the internationalization of Anglophone academia problematizes drawing firm conclusions about dominant understandings of a given subject, one could say scholarship on home video has largely fallen into two categories. On the one hand, media theorists and historians have considered how this multifaceted phenomenon facilitated changes in the structure and conduct of national film industries and infrastructures, especially in the United States. In this respect, scholars have examined how home video's rapid penetration of the American market affected both Hollywood and independent distributors a la Vestron Video (see, e.g., Wasser). Similarly, others have examined the impact of home video on retail, from small \"mom and pop\" businesses and boutiques serving cinephiles to large chains like Blockbuster (see e.g. Greenberg; Herbert). On the other hand, Anglophone scholars have examined the responses of stakeholders such as fans, moral watchdogs, and State institutions. While much of this work also focuses on the United States (see various chapters in Levy [1989]), from an Anglophone perspective, it also likely evokes work on the UK video nasties controversy of the 1980s. Here, scholars examined the cultural politics of conservative politicians and journalists demanding regulation of ultraviolent cassettes, and the companies and subcultures embracing such fare (see, Barker; Egan; Petley).