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d) (European Commission (2003).Commission Green Paper of 21 May 2003on services of general interest. COM (2003)270 final. Brussels; or European Forum forthe Arts and Heritage (EFAH and Interarts),(2003). Report on the state of culturalcooperation in Europe, EFAH, Interarts,October.7 The `new member states’, which joined theEU in the accession of 2004, were CzechRepublic, Estonia, Hungary, Latvia, Lithuania,Poland, Slovakia and Slovenia, plus Cyprus(the Greek part) and Malta. Post-accessiondevelopments in Cyprus and Malta haveto be looked at separately as they did notgo through the transition from one politicalsystem to the other, such as occurred incentral and eastern Europe. Hence they werenot included in this study.At present candidate countries includeBulgaria and Romania, which have almostcompleted negotiations, and Croatia andTurkey which have just started negotiationsfor full membership.8 This phenomena is described in politicalscience as policy transfer. See for exampleJames and Lodge, 2003; and Dolowitz andMarsh, 1996.9 According to the IMCA (InternationalMedia Consultants Associates) study for theEuropean Commission, published in 2004,A survey of the landscapes and policiesof the European Community candidatecountries in the broadcasting industry, eventhe area of broadcasting is under-researched.10 Beside Williams (1976), see alsoKawashima (1995), Gray (1996), Vestheim(1995), Hugoson (1997) as well as morerecent studies by Gordon and Mundy (2001)or Mercer (2002).11 The Council of Europe is not an EUbody. It is an intergovernmental organisation,embracing 46 European member countries.See Glossary for more information.12 Around this time the United NationsEducational, Scientific and CulturalOrganization (UNESCO) also launchedmore in-depth research on cultural policies.UNESCO ministerial conferences had beenheld in Venice in 1970 and in Helsinki in 1972.13 Some of the documents adopted by theCouncil of Europe since the 1970s illustrateits fields of interest.- Declaration on the future of culturaldevelopment, 1972- European declaration on culturalobjectives, 1984- Resolution on the establishment of theEuropean Fund for support ofco-productions and distribution of films andaudio-visual products Èurimages’, 1988- Declaration `Multicultural society andEuropean cultural identity’, 1990- European convention for the protection ofthe audio-visual heritage- European convention on cinematographicco-productions 1992- European charter about regional andminority languages, 1992- Declaration on European policy and newinformation technologies, 1999- Declaration on cultural diversity 200078Notes
14 When deciding on the methodology andscope of research, authors used methodologyfrom other public policies: that is, education,higher education, science and research andenvironment, developed in early 1980s withinthe Organization for Economic Cooperationand Development (OECD) (d’Angelo andVespérini 1999).15 The Council of Europe brief was forreviews of national cultural policy.16 Cooperation with the Council of Europeis explicitly mentioned in the paragraph 3of the Article 128 of the Maastricht Treatythat became Article 151 in the Treaty ofAmsterdam.17 The Treaty of Rome in which theEuropean Economic Community was set upand signed by six states: Belgium, France,Italy, Luxembourg, The Netherlands andThe Federal Republic of Germany[West Germany].18 In 1973 Denmark, Ireland and UK joined,followed by Greece in 1981, Spain andPortugal in 1986 and Austria, Finland andSweden in 1995. The biggest enlargementoccurred in 2004 with ten new membercountries joining: Cyprus [Greek part], CzechRepublic, Estonia, Hungary, Latvia, Lithuania,Malta, Poland, Slovakia and Slovenia.19 Methodology used for this type ofresearch includes, for example, cost-benefitanalysis, SWOT analysis, and others. Someof these methods could also be applied to theresearch of culture; cost-benefit analysis ofenlargement, for example, could be useful towork out what will happen with the openingof the cultural markets and their integrationinto a common market. It could show theweaknesses as well as the strengths and thecompetitive potential of domestic culturalindustries compared to European ones,and especially cultural goods and servicesdistributed by global cultural conglomerates.It is most probably still too early for thistype of research and it would also demandadequate cultural statistics and indicators thatare not available at the moment.20 Puchala likens analysts of Europeanintegration to a group of blind men who,while only touching the animal, are tryingto describe the elephant. As each of themcan touch only one part of the elephant, onewill describe the elephant as a tall animalbecause he touched the trunk, and the otherwill think that the elephant is in fact flatbecause he touched its ear. Even thoughtheir individual impressions are wrong, eachhas enough èvidence’ to discuss the realappearance of the elephant and is thereforesceptical about the facts presented by otherparticipants in the discussion (Puchala 1971).21 In the introduction to Cultural policyin Croatia: national report. published byStrasbourg: Council for CulturalCo-operation, Katunarić and Cvjetic˘ aninregretted that it was difficult to recognizetoday’s cultural sector as a descendant ofthe creative cultural environment of the ageof Romanticism: `Throughout 20th centurydevelopment important sections of cultureNotes79
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Why we need European cultural polic
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Prologue When I decided to research
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If I had the opportunity of startin
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Measures directly referring to cult
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obstacles encountered during the pe
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Part 1Theconceptualframe ofthe stud
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argument referred to identifying ex
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Gray called for comparative researc
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The Council of Europe and comparati
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a broader understanding of culture,
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The first one is a `macro’ dimens
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Page 50 and 51: In regard to other taxes, opinions
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Page 66 and 67: Part 3What willthe futurebring?68 P
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Page 89 and 90: Aubry P, (2000)The `Television with
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Page 93 and 94: Futo P, Cuculić J, et al (2002)Met
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Page 99 and 100: Weidenfeld W, Wessels W, (1997)Euro
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Page 109 and 110: Annex 4GlossaryAcquis communautaire
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