The Movies of Others - Tension between Culture and Trade: The Example of the Audiovisual Co-Production Agreement between South Africa and Germany

Franziska Sucker
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Abstract

Commitments towards cultural diversity reflect attempts at creating a balance between trade and culture. The aims of such commitments are to avoid the loss of identity of cultural goods through the process of homogenisation and commercialization. Rapid increases in digital technology underscore the necessity of this discussion, as technology accelerates the trade of all products, including products derived from a multitude of cultures. While this certainly represents an opportunity for economic growth, it also has the very real effect of creating an unrestrained, increasingly digitalized market. A market, if dominated by the West, is feared would lead to cultural homogenisation and thus the loss of cultural identity, clearly illustrated through the film industry.Against this background, for most African countries co-production agreements are the key for local content productions; and thereby enforce cultural identity and contribute to cultural diversity and economic growth. The example of the Agreement on Audiovisual Co-productions between South Africa and Germany illustrates the tension and conflict these agreements cause. South Africa and Germany have, according to the UNESCO Diversity Convention, on the one hand the right to conclude such a Co-production Agreement and have even the obligation to endeavour to do so. On the other hand the Agreement violates the Most-Favoured-Nation-principle of the WTO-law; for South Africa in regards to goods and services and for Germany at least in regards to goods because I suggest that Germany’s MFN-exemption has not expired after ten years. Moreover, it potentially violates the SCM-Agreement.Based on this analysis, I will point out some consequences of this legal situation for South Africa and illustrate that local African content is jeopardised. Moreover, the outcome will underline the importance of the reformation of the WTO to make it more culturally sensitive and show how trade commitments can influence a government’s leeway in other fields of politics.
他人的电影——文化与贸易之间的紧张关系:以南非与德国的视听合作协议为例
对文化多样性的承诺反映了在贸易和文化之间创造平衡的努力。这些承诺的目的是为了避免文化产品在同质化和商业化的过程中丧失其特性。数字技术的快速发展强调了这种讨论的必要性,因为技术加速了所有产品的贸易,包括来自多种文化的产品。虽然这无疑代表着经济增长的机会,但它也产生了创造一个不受约束、日益数字化的市场的真正影响。如果一个市场由西方主导,人们担心会导致文化同质化,从而丧失文化身份,这一点在电影工业中得到了清楚的说明。在这种背景下,对大多数非洲国家来说,合作制作协议是当地内容制作的关键;从而加强文化认同,促进文化多样性和经济增长。南非和德国之间的《视听合作制作协定》的例子说明了这些协定造成的紧张和冲突。根据教科文组织《多样性公约》,南非和德国一方面有权缔结这样一项合作制作协定,甚至有义务为此作出努力。另一方面,该协定违背了wto法律的最惠国待遇原则;在货物和服务方面对南非有利,至少在货物方面对德国有利,因为我认为德国的最惠国待遇豁免在十年后还没有到期。此外,它可能违反scm协议。基于这一分析,我将指出这种法律状况对南非的一些后果,并说明当地非洲内容受到了危害。此外,这一结果将突显世贸组织改革的重要性,使其更具文化敏感性,并显示贸易承诺如何影响一国政府在其他政治领域的回旋余地。
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