Competing Perspectives? WTO and UNESCO on Cultural Diversity in Global Trade

Loisen, Jan; Pauwels, Caroline

doi:10.1057/9781137397638.0010

Cited by 3 publications

(7 citation statements)

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“…Yu (2011) proclaimed that WTO Appellate Body admitted the dual nature of the periodicals as goods and services (editorial and advertising contents) and ruled out that GATS and GATT did not necessarily overrule or contradict each other. Critics considered the rule as a main example of WTO's negligence over its members' cultural protection (Loisen and Pauwels 2015) and Canadian government later became the primary supporter of UNESCO 2005 Convention 3 partly due to this case.…”

Section: Disputes On Cultural Goods Under Wtomentioning

confidence: 99%

“…Categorizing culture into goods (tangible cultural contents: cinema, CD/DVDs, those disadvantaged their entertainment industry (Loisen and Pauwels 2015;Singh 2015) 4…”

Section: Disputes On Cultural Goods Under Wtomentioning

confidence: 99%

“…Furthermore, the inclusion of cultural goods and services as tradeable goods and services also brings about some debates about to what extent 'cultural exception' should be granted, to whom, and even what exactly does it mean. Loisen and Pauwels (2015) argued that the economic value of cultural goods should be well-regarded and well-regulated, especially in the globalization era where production and distribution of cultural goods will be subjected to fast economic development. With regards to this issue, 2005 UNESCO Convention addressed it in Article 2-5, linking both economic and cultural aspects in which "individuals and peoples have the fundamental right to participate in and enjoy" (UNESCO 2005).…”

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confidence: 99%

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Dissents in Regulating Cultural Trade and Its Mechanisms of Dispute Settlements in Multilateral Forum: Analyzing the Roles of UNESCO and WTO

Pratamasari

2019

JGS

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Even though the volume of trade in goods and service increases in some advanced economy countries, trade in cultural goods and services remain in neglected terrain within multilateral frameworks. WTO has indeed highlighted the importance of cultural goods’ protection; however, its meaning and scopes, terms of protection, and dispute settlement on cultural goods and services have remained vague. On the other hand, UNESCO shed some lights on the trade of cultural goods and services, but some of the articles in its convention arises some contradiction with WTO clauses. The cases presented in this paper are all related to the culture trade, namely Canada for a periodical case (DS31), Turkey’s taxation of foreign film (DS43), Canada’s case on film distribution service (DS117), and China’s case on publications and audiovisual products (DS363). This paper aims to analyze how those cases were handled in the dispute settlement of WTO and supposed to be handled by both UNESCO and WTO. I would like to draw some lessons from the inadequate dispute settlement in WTO on culture trade, then proceed to formulate some suggestions of how cultural trade-related disputes are supposed to be formulated.

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Section: Disputes On Cultural Goods Under Wtomentioning

confidence: 99%

“…Categorizing culture into goods (tangible cultural contents: cinema, CD/DVDs, those disadvantaged their entertainment industry (Loisen and Pauwels 2015;Singh 2015) 4…”

Section: Disputes On Cultural Goods Under Wtomentioning

confidence: 99%

mentioning

confidence: 99%

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Dissents in Regulating Cultural Trade and Its Mechanisms of Dispute Settlements in Multilateral Forum: Analyzing the Roles of UNESCO and WTO

Pratamasari

2019

JGS

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“…In other words, "subsidiarity" and "cultural diversity" tensions remain and are possibly reinforced due to the "convergence" field of tension (Loisen and Pauwels 2015). In the next part we therefore look into four policy issues where these tensions come together and analyse how cultural diversity has been inscribed and implemented (or not) in each case.…”

Section: Cultural Diversity Going Global (2005-ongoing)mentioning

confidence: 99%

“…Second, the issue of "subsidiarity" covers tensions surrounding policy levels for policy definition and implementation. Third, increasing "convergence" produces tensions regarding the adequate policy approach to media and culture (Loisen and Pauwels 2015).…”

Section: Introductionmentioning

confidence: 99%

Leading by Example? European Union Implementation of Cultural Diversity in Internal and External Audiovisual Policies

Pauwels¹,

Loisen

2016

Javnost - The Public

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This article aims to assess how the European Union (EU) deals with cultural diversity in the audiovisual sector in both its policy discourse and practice. The underlying question guiding the analysis is whether the EU commits to implementing policies to enhance cultural diversity. A first part gives an overview of the concept's development in time and in response to a specific political and economic context. The second part addresses implementation of the concept in the EU's internal market project and its external trade relations by means of an analysis of four distinct policy areas: the evolution of the main underlying regulatory framework; European support programmes for the audiovisual sector; competition policies targeting the sector; and dealing with the audiovisual sector in external trade relations. On the basis of this analysis, we aim to evaluate in a final concluding part the coherence of the overall EU approach and the prospects and pitfalls for increased cultural diversity in the audiovisual sector in Europe. We argue that the strong focus of the EU on cultural diversity in its discourse has led to some steps of policy implementation which generates a fledgling positive, albeit fragile and imperfect, dynamic for cultural diversity.

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The creative economy as a versatile policy script: exploring the role of competing intergovernmental organizations

Vlassis

Beukelaer

2018

Media, Culture & Society

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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.

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Competing Perspectives? WTO and UNESCO on Cultural Diversity in Global Trade

Cited by 3 publications

References 0 publications

Dissents in Regulating Cultural Trade and Its Mechanisms of Dispute Settlements in Multilateral Forum: Analyzing the Roles of UNESCO and WTO

Dissents in Regulating Cultural Trade and Its Mechanisms of Dispute Settlements in Multilateral Forum: Analyzing the Roles of UNESCO and WTO

Leading by Example? European Union Implementation of Cultural Diversity in Internal and External Audiovisual Policies

The creative economy as a versatile policy script: exploring the role of competing intergovernmental organizations

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