Curran and Seaton argue that contemporary media production is only viable if it takes place within commercial conglomerates that work globally. 

Disney’s Black Panther certainly provides an excellent example of a product whose $1.34 billion take was wrought as a result of Disney’s high-budget backing and its multisector global presence. Global production, Curran and Seaton tell us, enable conglomerates to maximise profits through the profit bounties that are realised when products are positioned to collect revenue from multiple territories simultaneously. 

Black Panther’s global appeal is foregrounded within its marketing campaign, the trailer purposefully showcasing the film’s transglobal settings: Korea, Georgia (United States), Zambia, South Africa and Argentina. 

The internationalisation of the product is also evidenced through the choice of actors. The use of Martin Freeman and Michael B. Jordan constructs appeal for both American and UK based viewers: it is no accident that these two characters occupy privileged positions in the trailer and accompanying poster campaigns. Their central role in marketing material constructs a connection with two highly lucrative global territories very quickly.