Who is in the driver's seat of European audivisual policy?

This thesis seeks to assess the theories that are relevant in assessing the impact of various actors in European audiovisual regulation, taking the example of the recent and most important piece of legislation in this field, the revised AVMSD. As the Directive covers multiple aspects of audiovisual regulation, some more controversial than others, I decided to focus on one measure of the Directive: the promotion of European works on on-demand services through quotas. Such feature was chosen as it was very controversial at the time the Directive was negotiated and adopted, and the discussions around it also reflect more extensive debates about European audiovisual policy and more generally European integration. In order to do so, I have chosen to explore the literature of audiovisual regulation at the supranational level, and later assess theoretical explanations of the behaviour of key European actors: the member states, the European Commission, the European Parliament, and interest groups. This thesis concludes that most actors studied could have, according to the theory, included their preferences in the policy outcome, and that intergovernmental and supranational mid-range theories are complementary in studying this policy outcome. Nevertheless, the lack of literature specifically targeting matters of supranational audiovisual regulation prevents the lecturer of more conclusive statements.