Peer-review papers/research notes by Antonios Vlassis
The purpose of this article is twofold: to consider whether and how the European Union has a stro... more The purpose of this article is twofold: to consider whether and how the European Union has a strong influence in global audiovisual politics and economy and to analyse whether the United States keeps playing a key role in global audiovisual flows or its domination is challenged by the European Union or other countries. These two purposes are analysed in the light of the rise of global online platforms, seen as the new dominant development in the audiovisual industry. In order to understand the European Union role and influence, the article highlights three interlinked factors: European/internal audiovisual policies, market profile and foreign audiovisual diplomacy. In the end, the article examines the competition that European Union faces in the global film economy, focusing notably on the US/Hollywood, China, India and global online platforms.
The European Union (EU) has a number of different powers in its toolbox. One of these policies li... more The European Union (EU) has a number of different powers in its toolbox. One of these policies lies at the core of the EU’s external competences – the common commercial policy (CCP) or common trade policy. This enables the EU to ‘speak as one voice’ in multilateral bodies and with third parties. The CCP, which has become stronger over the years, has developed into one of the bloc’s key international projection levers. However, the EU’s place and role in globalization are today being shaken chiefly by three major political factors: the rise of new powers, the United States (US)’ neo-mercantilist policies, and political divisions within the EU. Together, these three external and internal factors may be hastening a crisis for the EU. This raises the question: to what extent can the bloc influence its own destiny during this stormy period?
Digital revolution has profound impacts on all aspects of cultural value chain and represents an ... more Digital revolution has profound impacts on all aspects of cultural value chain and represents an unprecedented change in creation, production, distribution, broadcasting and consumption of cultural goods and services as well as in the remuneration of
creators. In this view, digital technologies have positive and negative aspects in cultural
sectors, according to how they are applied in national and regional contexts. In remote
areas the question of the adjustment of local industries to the new technological
opportunities becomes a key challenge to continue serving local and regional markets
and accessing eventually global markets. Recent developments, such as the dematerialization of cultural products, the direct connections between creators and consumers, the convergence blurring the boundaries between cultural production, distribution and consumption and the increased cross-national connectivity, but also the impact of digital revolution on cultural behaviour and identity, raise a number of challenges and opportunities. Among these, the digital divide is still a barrier preventing access to culture in many developing countries. The globalised cultural offer and access increases the quantity and availability of cultural works, but not necessarily their visibility and diversity. The over-concentration of data on a small number of privately-owned global platforms implies that investment in cultural and digital infrastructure is driven mainly by economic interests and market optimization. Moreover, the issue of intellectual property protection is crucial insofar as copyright legislation is strongly affected by the transnational and intangible nature of online companies and the lack of updated norms. Finally the huge creative possibilities offered to artists by machine learning and artificial intelligence remain still largely untapped.
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The purpose of this working paper is twofold: to consider whether and how the European Union (EU)... more The purpose of this working paper is twofold: to consider whether and how the European Union (EU) play a major role in global cultural politics and economy (taking as case study the film sector) and to analyze whether the United States keep playing a key role in global cultural flows or their dominance is challenged by other countries - such as China - or by main digital players. Thus, the article offers a first investigation in order to understand the influence of the EU in global governance of trade and culture, paying special attention to the nexus between culture and digital platforms and to analyse whether this influence is translated into a change of balance of power in the global cultural economy.
Since the early 2000s, several intergovernmental organizations (IGOs) have advanced the idea that... more Since the early 2000s, several intergovernmental organizations (IGOs) have advanced the idea that the creative economy could be a 'feasible development option'. The United Nations Conference on Trade and Development (UNCTAD) and the United Nations Development Programme (UNDP) took the lead by preparing the 2008 and 2010 Creative Economy Reports, whereas the United Nations Educational, Scientific and Cultural Organization (UNESCO) and UNDP executed the 2013 report. The article-based on an actor-centred institutionalism-explores the role IGOs have played in the promulgation of the 'creative economy' policy agenda. Through a socio-political analysis, we reveal how IGOs act and interact with each other vis-à-vis 'creative economy' policy agenda making. On one hand, the article seeks to highlight why and how IGOs include the creative economy within their priorities and use the concept, influence or challenge its orientations. On the other hand, it aims to examine their ability to act in common in order to globalize the 'creative economy' policy agenda and create new forms of cultural industries governance.
The Convention on the Protection and Promotion of the Diversity of Cultural Expressions (CDCE) ad... more The Convention on the Protection and Promotion of the Diversity of Cultural Expressions (CDCE) adopted by UNESCO in 2005 is now a key international instrument in the global governance of culture. In December 2016, the CDCE's Committee adopted Operational Guidelines in order to align the CDCE with the development of digital technologies. In this respect, this article deals with the struggles between actors in the process for adopting new governance norms for the diversity of cultural expressions in the digital context and it seeks to understand how the interests and influence of the actors involved intersect in consensual and conflicting ways.
This article deals with the importance of the Indian film industry for the strengthening of India... more This article deals with the importance of the Indian film industry for the strengthening of India’s soft power and with the capability of the country to build an international status of active cultural power. As such, on the one hand, I seek to analyze the institutional features of the Indian movie system and to focus on the role of India within the international regime for audiovisual sector, and on the other hand, I aim to emphasize the worldwide cultural competition that India faces. The findings will show that the domestic structures are a major factor in order to understand the influence of India and its status within the world audiovisual economy, within which Hollywood has highly financing abilities and global distribution strategies.
This article addresses the importance of cultural industries for the strengthening of the soft po... more This article addresses the importance of cultural industries for the strengthening of the soft power of the rising powers and it seeks to understand how the cultural industries allow rising powers to shape the structures of their international environment. More specifically, studying the cases of People’s Republic of China and of the movie industry, my article focuses on the current evolution of the relationship between the Chinese authorities and the film industry, as well as on the development of the domestic film market. I further aim to draw up an inventory of China’s role within the global governance of cultural industries. Finally, I aim to highlight the global cultural competition that China faces, emphasizing the practices of the US administration and Hollywood. I argue that even if China is the current centre of gravity within the world economy, it still has a long way to go in order to shape the distribution of resources within the global governance of cultural industries and to play a crucial role in the international battle of cultural symbols.
Abstract. The aim of the article is double: on the one hand, to explore the EU's ability to condu... more Abstract. The aim of the article is double: on the one hand, to explore the EU's ability to conduct a foreign audiovisual policy towards the Mercosur region and to promote the norms of the Convention on diversity of cultural expressions; on the other hand, to analyze the impact of the EU audiovisual policy model on the development of the Mercosur audiovisual cooperation and to focus on the main forces shaping the Mercosur audiovisual landscape. The article seeks to emphasize why and how the EU pursues an audiovisual foreign policy towards the Mercosur region, for which purposes as well as to highlight the resistances. In this sense, it is more concerned with understanding how the EU's audiovisual diplomacy interplays with other main factors, such as the governmental action, namely the EU and Mercosur members' audiovisual diplomacy and the practices of private sector (Hollywood and big media conglomerates).
Distribution électronique Cairn.info pour L'Harmattan. © L'Harmattan. Tous droits réservés pour t... more Distribution électronique Cairn.info pour L'Harmattan. © L'Harmattan. Tous droits réservés pour tous pays.
Rioux, M., Gagné, G., Deblock, C., Tchéhouali, D., Fontaine-Skronski, K., & Vlassis, A. (2015). For a Diversified Networked
Culture: Bringing the Convention on the Protection and Promotion of the Diversity of Cultural Expressions in the Digital Age.
The Convention on diversity of cultural expressions – adopted by United Nations Educational, Scie... more The Convention on diversity of cultural expressions – adopted by United Nations Educational, Scientific and Cultural Organization in 2005 – is a main international instrument within the global governance of cultural and audiovisual industries. For its part, the European Commission played a critical role in the negotiation, leading to the Convention on Diversity of Cultural Expressions' adoption. In this respect, the article aims to explore why and how the Commission uses the Convention on Diversity of Cultural Expressions throughout the recent European Union trade negotiations, for which purposes and how the Convention on Diversity of Cultural Expressions influences the European Union foreign policy and its objectives. The article is more concerned with analysing the policy process through which the Commission's strategy is formulated in light of the Convention on Diversity of Cultural Expressions and of the place of cultural and audiovisual industries within the European Union trade agreements and also concerned with understanding whether the Commission's autonomy is transformed into influence within the policy process.
Throughout 2012–15 several actors were advocating that culture be explicitly integrated
within t... more Throughout 2012–15 several actors were advocating that culture be explicitly integrated
within the post-2015 UN development agenda. My article offers an anatomy of the recent
international mobilisation in order to understand the cleavages and the contrasting visions. In doing so, it seeks to analyse the policy process through which the agenda is made, why and how a critical mass of actors is attempting to embrace the inclusion of culture in the post-2015 agenda and the political reactions vis-à-vis this mobilisation. The article argues, on the one hand, that the promotion of culture in the post-2015 agenda is largely based on UNESCO's will to advance its policy agenda and enhance its position within the UN system and, on the other hand, that this mobilisation lacks political support from the most influential governments; therefore its chances of success are more than contingent.
This article addresses the importance of cultural industries for the strengthening of the soft po... more This article addresses the importance of cultural industries for the strengthening of the soft power of the rising powers and it seeks to understand how the cultural industries allow rising powers to shape the structures of their international environment. More specifically, studying the cases of People’s Republic of China and of the movie industry, my article focuses on the current evolution of the relationship between the Chinese authorities and the film industry, as well as on the development of the domestic film market. I further aim to draw up an inventory of China’s role within the global governance of cultural industries. Finally, I aim to highlight the global cultural competition that China faces, emphasizing the practices of the US administration and Hollywood. I argue that even if China is the current centre of gravity within the world economy, it still has a long way to go in order to shape the distribution of resources within the global governance of cultural industries and to play a crucial role in the international battle of cultural symbols.
Introduction
I. Gouvernance mondiale des industries culturelles et multilatéralisme
institut... more Introduction
I. Gouvernance mondiale des industries culturelles et multilatéralisme
institutionnel: des désaccords à la prudence
A. L’Organisation mondiale du commerce et les industries culturelles:
de la confrontation politique au blocage structurel
B. La Convention sur la diversité des expressions culturelles:
un succès politique sans suite ?
II. Échelle bilatérale-plurilatérale: laboratoire de la régulation internationale
des industries culturelles
A. Services culturels numériques, priorité majeure des États-Unis
B. Négociations commerciales et clivages politiques :
le numérique en tant que perturbateur de l’exception culturelle?
Conclusion
Politique et sociétés, 32(3), 2013, 81-101.
Le présent article consiste à saisir l’action politique du secrétariat de l’UNESCO vis-à-vis de l... more Le présent article consiste à saisir l’action politique du secrétariat de l’UNESCO vis-à-vis de la gestion de l’interface entre le commerce et la culture, ainsi que ses marges de manœuvre face aux entrepreneurs de la diversité culturelle. Alors que la plupart des études relatives à l’enjeu supposent que le secrétariat général reste largement favorable au processus de l’élaboration et de la mise en œuvre de la Convention sur la diversité culturelle, dans cet article, nous nous interrogeons sur les conditions – empiriquement sondées – qui permettent au secrétariat d’agir. Notre analyse démonte alors l’idée courante selon laquelle l’UNESCO était à l’avant-garde de la Convention et illustre les raisons pour lesquelles l’organisation a adopté une position conservatrice sur cette question et a mis en œuvre un certain nombre de stratégies qui tiennent compte de logiques institutionnelles propres à l’UNESCO.
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Peer-review papers/research notes by Antonios Vlassis
creators. In this view, digital technologies have positive and negative aspects in cultural
sectors, according to how they are applied in national and regional contexts. In remote
areas the question of the adjustment of local industries to the new technological
opportunities becomes a key challenge to continue serving local and regional markets
and accessing eventually global markets. Recent developments, such as the dematerialization of cultural products, the direct connections between creators and consumers, the convergence blurring the boundaries between cultural production, distribution and consumption and the increased cross-national connectivity, but also the impact of digital revolution on cultural behaviour and identity, raise a number of challenges and opportunities. Among these, the digital divide is still a barrier preventing access to culture in many developing countries. The globalised cultural offer and access increases the quantity and availability of cultural works, but not necessarily their visibility and diversity. The over-concentration of data on a small number of privately-owned global platforms implies that investment in cultural and digital infrastructure is driven mainly by economic interests and market optimization. Moreover, the issue of intellectual property protection is crucial insofar as copyright legislation is strongly affected by the transnational and intangible nature of online companies and the lack of updated norms. Finally the huge creative possibilities offered to artists by machine learning and artificial intelligence remain still largely untapped.
within the post-2015 UN development agenda. My article offers an anatomy of the recent
international mobilisation in order to understand the cleavages and the contrasting visions. In doing so, it seeks to analyse the policy process through which the agenda is made, why and how a critical mass of actors is attempting to embrace the inclusion of culture in the post-2015 agenda and the political reactions vis-à-vis this mobilisation. The article argues, on the one hand, that the promotion of culture in the post-2015 agenda is largely based on UNESCO's will to advance its policy agenda and enhance its position within the UN system and, on the other hand, that this mobilisation lacks political support from the most influential governments; therefore its chances of success are more than contingent.
I. Gouvernance mondiale des industries culturelles et multilatéralisme
institutionnel: des désaccords à la prudence
A. L’Organisation mondiale du commerce et les industries culturelles:
de la confrontation politique au blocage structurel
B. La Convention sur la diversité des expressions culturelles:
un succès politique sans suite ?
II. Échelle bilatérale-plurilatérale: laboratoire de la régulation internationale
des industries culturelles
A. Services culturels numériques, priorité majeure des États-Unis
B. Négociations commerciales et clivages politiques :
le numérique en tant que perturbateur de l’exception culturelle?
Conclusion
creators. In this view, digital technologies have positive and negative aspects in cultural
sectors, according to how they are applied in national and regional contexts. In remote
areas the question of the adjustment of local industries to the new technological
opportunities becomes a key challenge to continue serving local and regional markets
and accessing eventually global markets. Recent developments, such as the dematerialization of cultural products, the direct connections between creators and consumers, the convergence blurring the boundaries between cultural production, distribution and consumption and the increased cross-national connectivity, but also the impact of digital revolution on cultural behaviour and identity, raise a number of challenges and opportunities. Among these, the digital divide is still a barrier preventing access to culture in many developing countries. The globalised cultural offer and access increases the quantity and availability of cultural works, but not necessarily their visibility and diversity. The over-concentration of data on a small number of privately-owned global platforms implies that investment in cultural and digital infrastructure is driven mainly by economic interests and market optimization. Moreover, the issue of intellectual property protection is crucial insofar as copyright legislation is strongly affected by the transnational and intangible nature of online companies and the lack of updated norms. Finally the huge creative possibilities offered to artists by machine learning and artificial intelligence remain still largely untapped.
within the post-2015 UN development agenda. My article offers an anatomy of the recent
international mobilisation in order to understand the cleavages and the contrasting visions. In doing so, it seeks to analyse the policy process through which the agenda is made, why and how a critical mass of actors is attempting to embrace the inclusion of culture in the post-2015 agenda and the political reactions vis-à-vis this mobilisation. The article argues, on the one hand, that the promotion of culture in the post-2015 agenda is largely based on UNESCO's will to advance its policy agenda and enhance its position within the UN system and, on the other hand, that this mobilisation lacks political support from the most influential governments; therefore its chances of success are more than contingent.
I. Gouvernance mondiale des industries culturelles et multilatéralisme
institutionnel: des désaccords à la prudence
A. L’Organisation mondiale du commerce et les industries culturelles:
de la confrontation politique au blocage structurel
B. La Convention sur la diversité des expressions culturelles:
un succès politique sans suite ?
II. Échelle bilatérale-plurilatérale: laboratoire de la régulation internationale
des industries culturelles
A. Services culturels numériques, priorité majeure des États-Unis
B. Négociations commerciales et clivages politiques :
le numérique en tant que perturbateur de l’exception culturelle?
Conclusion
À cet égard, nous revenons dans un premier temps sur l’impact normatif de la CDEC et sur la question des rapports périodiques des Parties à la CDEC. Dans un deuxième temps, nous traitons du débat autour de la mise en œuvre du Fonds international pour la diversité culturelle et des articles 16 (Traitement préférentiel) et 21 (Concertation et coordination internationales), ainsi que de la question de l’adaptation de la CDEC aux défis des technologies numériques.
Les interventions des participants lors de la session du Comité et le caractère du débat nous révèlent le retour du politique dans la CDEC, à savoir que l’étape actuelle de sa mise en œuvre implique nécessairement des divergences et des conflits politiques, vu l’importance économique, sociale et culturelle des questions traitées. Un tableau récapitulatif des principaux événements qui ont marqué 2014 vient compléter ce tour d’horizon.
Secrétariat du Groupe des pays ACP (Afrique, Caraïbes, Pacifique). En deuxième lieu, nous traitons de l’évolution récente des négociations commerciales, et surtout du mandat du Conseil européen ‐ rendu public au début d’octobre ‐ pour les négociations pour un partenariat transatlantique entre l’UE et les États‐Unis.
En troisième lieu, nous mettons l’accent sur un grand nombre de questions
centrales de la gouvernance mondiale de la culture, telles que la Déclaration de
Florence sur le lien entre le développement et la culture, le rapport de la Motion
Picture Association of America (MPAA) au sujet des marchés notoires en termes
de piratage numérique et physique, le rapport sur l’égalité des genres et le
secteur culturel, ainsi que le rapport sur la contribution des industries créatives
dans l’économie européenne.
Enfin, Louise Beaudoin, ancienne ministre des Relations internationales et de la Francophonie du Québec et actrice de premier plan dans le processus de la construction de la Convention sur la diversité des expressions culturelles (CDEC) nous explique l’impact des technologies numériques sur la mise en œuvre de la CDEC, montrant la nécessité d’adapter la CDEC aux défis de l’ère numérique.
Ce numéro traite d’un grand nombre de questions qui dominent actuellement l’agenda politique des acteurs impliqués dans la gouvernance mondiale des industries culturelles. En premier lieu, d’un côté, nous analysons la manière dont les grands studios hollywoodiens entendent lutter contre le piratage numérique qui affecte considérablement leurs intérêts et leurs chiffres d’affaires et, d’un autre, nous nous concentrons sur l’évolution du partenariat entre la Chine et la Motion Picture Association of America. En deuxième lieu, nous abordons les enjeux des récentes négociations commerciales, ainsi que les dilemmes actuels auxquels les négociateurs font face. En troisième lieu, nous traitons des questions qui dominent le paysage cinématographique européen, à savoir la nécessité de développer des dispositifs communautaires pour promouvoir une stratégie audiovisuelle plus cohérente et mettre en place des mécanismes de régulation pour les nouveaux acteurs numériques, notamment les géants de l’Internet, qui par leur dimension transnationale, évitent en grande partie la régulation et la fiscalité des États dans lesquels leurs programmes sont diffusés, et ne contribuent pas au financement et à la promotion de la création audiovisuelle européenne.
Bonne lecture.
Ce numéro aborde plusieurs questions qui se situent actuellement au cœur de la gouvernance mondiale des industries culturelles. En premier lieu, nous analysons le débat international relatif à la perspective d’inclure la culture dans les objectifs de l’agenda du développement durable post-2015, les initiatives récentes, ainsi que les rapports de force actuels. En deuxième lieu, nous présentons la publication annuelle du Rapport spécial 301 qui permet au Représentant américain au commerce d’identifier les pays qui ne protègent pas d’une façon appropriée et efficace les droits de propriété intellectuelle. En troisième lieu, nous traitons de la décision de l’avocat général de la Cour de justice de l’Union européenne relative au prix du livre numérique, ainsi que des batailles industrielles dans le secteur de la culture, comme celle d’Amazon contre Hachette ou de YouTube contre les producteurs indépendants de la musique, qui ont comme cible principale les auteurs et la création artistique. Enfin, Anna Steinkamp, coordinatrice du réseau international U40, nous explique l’importance des réseaux de connaissance pour la coopération internationale en matière de culture et la mise en œuvre dynamique de la Convention de 2005.
Face à l’avènement du numérique et à la multiplication des négociations commerciales (Union européenne, États-Unis, Canada, Japon, Australie), la gouvernance mondiale des industries culturelles se trouve actuellement à un tournant. En premier lieu, le numéro de juillet traite des évolutions du débat sur l’inclusion de la culture dans l’agenda du développement durable post-2015, des initiatives dynamiques de la société civile en matière de culture, ainsi que des réticences des pays développés. En deuxième lieu, il aborde les enjeux récents des négociations commerciales en cours (Partenariat transpacifique, Partenariat transatlantique, accord sur le commerce des services) ainsi que les priorités de l’administration des États-Unis concentrées sur une inclusion dynamique des produits numériques dans l’agenda des négociations. Enfin, il présente plusieurs rapports qui mettent en lumière certains aspects de la mise en œuvre de la Convention sur la diversité des expressions culturelles (CDEC), tels que les politiques culturelles en Asie et l’impact de la CDEC, les effets normatifs de la CDEC, ainsi que son adaptation à l’ère numérique.
« Quelle(s) culture(s) pour l'Europe ? », « Strategies for a cultural Europe », « L'Écrivain et le Marché unique », « L' action culturelle dans la politique commerciale extérieure de l'UE » ou encore « The review of the Audiovisual Media Services Directive ».