The French cultural exception: Exception or exclusion?

Résumé du document

In a bit more than one decade, culture has become a crucial issue of the globalization process. In fact, the IT revolution along with the development of transport, the increase of the international commercial exchanges and foreign investments, and the constitution of multinational conglomerates in the cultural sector (television, books, music, and cinema) combined to turn globalization's cultural issues into a battlefield where States are at odds.

Far from being of lesser importance, debates on culture in the globalization process are paramount for fundamental questions stem from them. Is the globalization process jeopardizing cultural diversity or favoring cultural exchanges and therefore cultural and intellectual enrichment? Is it legitimate for States to implement their own policies in order to protect and develop their own cultural identity, expression and industry? Should cultural goods be integrated to the global market, on the basis of free-trade? How can the development of cultural exchanges worldwide be regulated in order to avoid both cultural hegemony and nationalistic protectionism?

Extraits

[...] Historical background The notion of “cultural exception” is not totally new. In fact, the question of the exceptional nature of cultural goods was first addressed in 1947, when the negotiators of the General Agreement on Tariffs and Trade agreed on the 4th Article of the Agreement which grants the States with the right to implement quotas and policies that impose a given percentage of national productions to be broadcasted. But in reality, the first global debate on this issue was triggered by the conclusion of the GATT Uruguay Round in 1994. [...]

[...] Amelie Poulain epitomises French cultural quality that meets international standards while keeping a French touch. b. Cultural diversity : a challenge on a global scale Finally, the “cultural exception” should not be a strictly French. In fact, the idea that cultural goods should be kept away from regular markets and exchanges is bound to be universal. The fact that France firmly supports this idea does not mean that it is a hidden form of patriotism. That is why we should rather talk about protection of cultural diversity instead of “cultural exception”. [...]

[...] Moreover, it is often misunderstood and intermingled with the notion of “exception française”. This is why France should endeavour to adopt a pro-active approach to these cultural issues. Instead of merely denouncing “American cultural imperialism”, it should lead a global movement of protection of cultural diversity. In fact, this universal notion could make countries feel at one in a fight for the defence of cultural identities. Such an effort should be lead on a larger scale in order to increase its legitimacy. [...]

[...] But France is proud of its cultural history and contemporary creation. Hence, French political authorities have been implementing policies that favour national cultural expression. b. The political implementation In 1959, De Gaulle assigned French author André Malraux to the responsibility of Minister of Culture. He asked him to promote the development of French culture both on a national and global scale. Ever since, France has implemented policies to protect its national cultural wealth and traditions. The Centre For National Cinema (CNC) takes a toll on every cinema ticket to sustain French productions. [...]

[...] Then, the State provides its citizens with a unique cultural radio : France Culture. Finally, a law was passed in 1986 to impose that 40% of the music or video clips broadcasted on the TV and the radio are French. These measures explain the fact that 28% of movies broadcasted on French TV are American Germany: Spain: Italy: and that 34% of movies shown in French cinemas are French Spain: Italy: 22%). But such measures can be thought of as protectionist for they prevent the market rules to prevail. [...]