Welcome to the week eight of our course, and this week will be devoted to the policies in the field of creative and cultural industries. This week will be the final week of our course. First of all, we'll speak about different views or approaches to cultural policy and media policy in general and it will be the first part of this week. Let's take a look on origins of cultural policy. Origins of cultural policy depends on territories, depends on countries where it was implemented, because in different countries, there are different views of what should be protected how culture should be regulated by the state et cetera. And we can observe for example that in Europe, after the expansion of the American culture or the so-called global culture et cetera, especially in the second half of the 20th century, starting from 60s, 70s, we can see the implementation of this so-called cultural policy. Policy which aims to protect the identity, the national identity of the European countries et cetera. In Anglo-Saxon world, it was quite different and have had much more moderate view just because Anglo-Saxonian culture since it was much more based on the English language, which became very popular in the second half of the 20th century as the international language, the language of international exchange et cetera. This problem, the problem of protection over the identity has been a little bit weaker. So, of course, the principle of cultural policy there, reason for cultural policy was very different in different countries. Of course, one of such reasons is the reaction on the market force and support innovations in the field of culture. So, the cultural policy aims to react on market force. So, to regulate something which cannot be regulated by the so-called market force and to support particular will say, aesthetic innovations in field of culture. Another important question is of course, the use of the cultural policy in order to support another economic industries for example. So, there is a particular multiplicity effect on economic industries, because we understand perfectly that if you are developing the industry of content, the cultural industry, the industry of movie, et cetera, you are also contributing to the development of for example, industry of electronics, because a majority of the devices which can be used to consume the movie sector for example, the movie production produced by electronic companies or companies from information technology industry et cetera, et cetera. And finally, another reason these are of course the general contribution to the social welfare, to promotion of aesthetic values, because each country or each culture possess a particular aesthetic values. All we can think that such aesthetic values should be promoted, should be developed in particular places. Of course, during the different period, different models of support and different issues inside the culture policies has been developed. One of the first was the spectrum management issue. So, starting from the 1920s, just after launching the first commercial radio stations or public radio stations in Europe and even the United States. Of course, the state started to regulate the management of spectrum of radio spectrum, just because radio spectrum eats another resource which is renewable. Means that there are a number of potential frequencies where you can place the radio broadcasting is physically limited. You cannot have more than a certain number of radio stations. So, the states started to regulate the, or say, the rule. What companies could pretend to obtaining frequencies to broadcast. Then in the middle of 20th century, we can see the rise of particular antitrust regulation in one of such decision was the so-called separation of the theatrical demonstration and distribution of Hollywood Major in the United States. So, the prohibition to major to own they own theatrical chains, which means that they these decision was aimed to develop the separate from majors theatrical chains, which would contribute to the development of some movies which outside will say, they're purely commercial realm. In Europe or in the United States, in the middle of 20th century, there was the rise of the state policy in the field of National Heritage Museums, et cetera. And then, especially at the end of 20th century, we can see a lot of new things to regulate and need a lot of new issues to regulate. Of course, it was there. A lot of them was a reaction to the globalization, the globalization of the culture products to the well say, a particular domination of especially English speaking production and United States production in the cultural markets of other countries, which of course provoked a particular reactions of other countries to elaborate national cultural policies, which has been oriented toward promotion of national production, quotation of broadcasting of national production and quota for the broadcasting of the foreign production. So, limits on importing a particular cultural production and it was a rise of a particular national policy is one of such policy was so-called cultural exception voice which was quality official cultural policy in France for example and we will take a look on it a little bit later in this week. But finally, of course we can see some some liberal or regulation or regulation oriented toward what will say curbing piracy, toward supporting the exportation et cetera. And it was mainly the policy promoted by United States and especially after 2000 and during the first 10 years of the 21st century, we have deal with the rise of the policy in field of creativity or creative industries, creativity support and cultural policy for economic policy. So the idea that creativity in general or creative industries in general could contribute to the development of economy in general. At the same time, we also should refer to the idea that historically any cultural content was the particular object of the regulation. We can do a reference to the regulation of printing houses by Catholic Church during the middle and middle ages and then in the new times and such regulation was based on an idea of authorization. So before to print something you should obtain a stamp or before copying the book, written book you should obtain a particular authorization from someone or indexers so a catalog of prohibited books which regulated and which has been used to enforcement in this field. Of course, it's also the regulation of periodical, periodical press, newspapers or so in Europe and especially during the modern times such regulation was based on idea that a lot of periodicals could contribute to that will say distribution of libel, to distribution of to abuse of private life for example et cetra. And of course, such filching which should be heavily regulated. And finally, in field of artistic creation, performances, art, professional guilds and foundations regulated the preparatory of performances troubadours, theaters et cetera, et cetera. So it means that historical cultural content has been always regulated. So, the content by itself and sometimes you require a particular pre-authorization before doing a particular self-expression in a field of culture.
