Do you remember the most Homeric of world trade negotiations, called the Uruguay round, which took place between 1986 and 1994? I was a teenager then and I remember that round of the General Agreement on Tariffs and Trade (Gatt) vividly, writes Agnès Poirier in The Guardian.
I had taken to reading the austere Le Monde every day and remember the uncouth Jack Valenti, head of the Motion Picture Association in Hollywood, who particularly despised European film directors for pleading with their governments to exclude cinema, and the arts in general, from the negotiations. Valenti roared back: "Culture is like chewing-gum, a product like any other." At the time, France's President François Mitterrand led the rebellion and, sphinx-like, treated the like of Valenti with hauteur. He retorted: "The mind's creations are no mere commodities and can't be treated as such."
The contrast sums up the opposing views: the US considers cinema and the arts as entertainment industries making profits; Europe considers culture as the product of ideas that go beyond a strict commercial value. In the late 80s, France coined the notion of "cultural exception" which has since morphed into the less arrogant-sounding "cultural diversity", a principle adopted in October 2005 by Unesco as a legally binding convention passed by 185 states against two. The naysayers were the US and Israel.
Twenty years later, we're back at it with the opening of talks for a new transatlantic trade agreement. The problem is, this time Europe is in a weaker state. France may have warned this week that it will not start negotiation if cultural industries are not excluded from trade talks, making its point with a letter signed by 16 European culture ministers, but will it prevail once again? Nothing is less sure.
Read more of this report from The Guardian.