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Essay / Research Paper Abstract
A paper which looks at the audiovisual industry in reference to the dominance of American cultural production and the impact of the free market on diversity in cultural production. Bibliography lists 11 sources.
Page Count:
8 pages (~225 words per page)
File: JL5_JLtvclttrde.rtf
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domestic programs tend to surpass those of international ones; she therefore concludes that there is some degree of cultural distance between product and audience, in terms of international input.
De Bens and De Smaele (2001) comment that the vast majority of international programming originates from the US, although Trepte contends
that this applies mainly to fiction, rather than information and entertainment. What is evident, however, is that cultural products within the sphere of international broadcasting are an essential element of
trade. Galperin (1999) notes that the question of cultural industries has "proved to be one of the most
controversial . . no other final-goods sector has . . aroused so much debate" (Galperin, 1999), partly because there is a lack of consensus as to whether cultural products
should be subject to the same principles of free trade as other commodities. Galperin points out that there is a dichotomy between the economic and sociocultural dimensions of audiovisual products:
the former "drive producers towards audience maximization (and) foreign sales" (Galperin, 1999) but the ideological impact of such products, and their potential for generating sociocultural change, has "raised manifold controversies"
(Galperin, 1999) as to whether it is appropriate to include them in trade liberalization agreements in the same manner as other types of commodity.
It is notable, however, that some commentators do not regard these issues as new: Pike and Winseck (2004), for example, trace the origins of the
modern global media back to the early 20th century, stating that the development of cable communications networks was already linked to the growth of international trade, and specifically to the
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