THE UNESCO CONVENTION ON THE DIVERSITY OF CULTURAL EXPRESSIONS THE UNESCO CONVENTION ON THE DIVERSITY OF CULTURAL EXPRESSIONS A Tale of Fragmentation in International Law Toshiyuki Kono Steven Van Uytsel (eds.) Cambridge – Antwerp – Portland Intersentia Publishing Ltd. Trinity House | Cambridge Business Park | Cowley Road Cambridge | CB4 0WZ | United Kingdom Tel.: +44 1223 393 753 | Email: [email protected] Distribution for the UK: Distribution for the USA and Canada: Hart Publishing Ltd. International Specialized Book Services 16C Worcester Place 920 NE 58th Ave. Suite 300 Oxford OX1 2JW Portland, OR 97213 UK USA Tel.: +44 1865 517 530 Tel.: +1 800 944 6190 (toll free) Email: [email protected] Email: [email protected] Distribution for Austria: Distribution for other countries: Neuer Wissenschaft licher Verlag Intersentia Publishing nv Argentinierstraße 42/6 Groenstraat 31 1040 Wien 2640 Mortsel Austria Belgium Tel.: +43 1 535 61 03 24 Tel.: +32 3 680 15 50 Email: offi [email protected] Email: [email protected] Th e UNESCO Convention on the Diversity of Cultural Expressions. A Tale of Fragmentation in International Law Toshiyuki Kono and Steven Van Uytsel (eds.) © 2012 Intersentia Cambridge – Antwerp – Portland www.intersentia.com | www.intersentia.co.uk ISBN 978-94-000-0003-2 D/2012/7849/94 NUR 820 British Library Cataloguing in Publication Data. A catalogue record for this book is available from the British Library. No part of this book may be reproduced in any form, by print, photoprint, microfi lm or any other means, without written permission from the publisher. FOREWORD Th e editors are very pleased to present Th e UNESCO Convention on the Diversity of Cultural Expressions: A Tale of Fragmentation in International Law. Th is book aims at discussing the UNESCO Convention for the Promotion and Protection of the Diversity of Cultural Expressions (“Convention on the Diversity of Cultural Expressions”) from the viewpoint of its potential relationships with other fi elds of international law. It is generally known that one of the main driving forces behind this Convention was the inability of the international trade regime to properly deal with cultural expressions and more specifi cally to deal with the audiovisual sector. Th is deadlock in the trade regime inspired civil society to take action and look for a new forum to discuss, and eventually adopt, an international instrument defending the cultural content of the audiovisual sector, thus putting in place the special trade measures required for its protection. Th ese initiatives of civil society resulted in a shift towards UNESCO. Within a relatively short span of time, UNESCO did not only initiate negotiations, it also adopted a new binding international instrument. Th e shift of venue had more implications than only the adoption of a new instrument. Trade was no longer the only issue at stake. Th e negotiators raised issues of tangible and intangible cultural heritage, human rights law issues and development law issues. All of these issues, some more explicitly than others, were addressed within the Convention on the Diversity of Cultural Expressions. Cultural heritage, human rights and development issues, just like trade, are dealt with in other international legal instruments. Yet, the new UNESCO Convention on the Diversity of Cultural Expressions also purports to have something to say on these issues. To what extent this Convention eff ectively has any infl uence on the other international legal instruments is the subject of this book. To draw this study of the fragmentation of international law to an end, we have opted to add a section that examines the extent to which the Convention on the Diversity of Cultural Expressions has an infl uence on the legislation of two jurisdictions, Europe and South Africa. Th is book has been a long journey. Th e contributors deserve our warm gratitude for their patience. We thank them for staying with us until the end of the project. We would like to acknowledge the help of Carol Lawson and Yuji Matson for their linguistic editorial work. Finally, we would like to thank Tom Scheirs from Intersentia v Foreword Intersentia for his continued belief in the project. Together with the professionalism and dedication of his staff , he has contributed greatly to the successful completion of it. Toshiyuki Kono & Steven Van Uytsel Fukuoka, 1 May 2012 vi Intersentia CONTENTS Foreword . v List of Abbreviations . xvii INTRODUCTORY PART. POSITIONING THE CONVENTION ON THE DIVERSITY OF CULTURAL EXPRESSIONS Th e Convention on the Diversity of Cultural Expressions. Beyond a Trade and Culture Convention Toshiyuki Kono and Steven Van Uytsel. 3 1. Introduction . 3 2. Trade versus Culture, a Tension with a History . 6 2.1. Th e Aft ermath of World War I: A Destroyed European Film Industry . 6 2.2. Th e Havana Charter: Conditioned Screen Quotas . 7 2.3. GATT’s Confi rmation of Protectionist Measures in the Form of Screen Quotas. 8 2.4. Th e Uruguay Round: From Cultural Specifi city to Cultural Exception . 11 2.5. Th e Creation of a Legal Standstill within GATS . 14 2.6. Negotiating further Liberalization of the Audiovisual Sector . 16 3. Cultural Tensions in the Trade Regime . 18 3.1. Civil Society Groups take Initiative . 18 3.2. Shift ing the Venue . 20 3.3. Development and Culture . 22 3.4. A Dual Concept of Culture . 25 4. Negotiating in the Wake of a Century’s Long Tension . 28 4.1. Th e Trade and Culture Debate governs . 28 4.2. Promotion of Cultural Development . 29 4.3. Non-Trade Related Issues Briefl y Discussed . 30 5. Redirecting the Focus . 31 5.1. Th e Experts embrace Culture in all Its Aspects . 31 5.2. Th e intergovernmental Meetings affi rm the Broad Cultural Approach . 35 6. Trade and Beyond, Mapping out the Book . 39 Intersentia vii Contents PART I. THE CONVENTION ON THE DIVERSITY OF CULTURAL EXPRESSIONS REVISITED Th e Convention on the Diversity of Cultural Expressions. A Critical Analysis of the Provisions Rostam J. Neuwirth . 45 1. Th e Text of the Convention on the Diversity of Cultural Expressions Revisited . 45 2. Th e Title . 46 3. Th e Preamble . 48 3.1. Substantial Remarks . 49 3.2. Th e Preamble Revisited . 52 4. Title I: Objectives and Guiding Principles . 53 5. Title II: Scope of Application . 55 6. Title III: Defi nitions . 55 7. Title IV: “Rights and Obligations of Parties” . 57 8. Title V: “Relationship to Other Instruments” . 62 8.1. Th e Evolution of Article 20 of the Convention on the Diversity of Cultural Expressions . 63 8.2. An Evaluation of Article 20 of the Convention on the Diversity of Cultural Expressions . 65 9. Title VI: Organs of the Convention on the Diversity of Cultural Expressions . 66 10. Title VII: Final Clauses and the Annex . 67 11. Concluding Remarks . 68 Th e Impact of the U.S. Position in the Trade and Culture Debate. Negotiation of the Convention on the Diversity of Cultural Expressions Carol Balassa . 71 1. Introduction: Th e Debate over Applying Trade Rules to Motion Pictures . 71 2. Preparations to Negotiate Trade in Services . 72 2.1. Th e United States Report on Trade in Motion Pictures . 72 2.2. Th e Trade Argument . 73 2.3. Th e Culture Argument . 75 3. Th e Uruguay Round . 76 3.1. Confrontation with the EU . 76 3.2. Focus on Economic Issues . 77 3.3. Outcome of the Uruguay Round . 79 viii Intersentia Contents 4. Th e Doha Development Agenda and the Audiovisual Sector . 80 4.1. Th e Audiovisual Objectives Paper . 80 4.2. Change in Tone . 81 4.3. Change in Substance . 82 4.4. Impact . 83 5. Th e Convention for the Protection of the Diversity of Cultural Expressions . 84 5.1. A Disguised Trade Negotiation within UNESCO . 84 5.2. U.S. Perspective on Trade Implications of the Convention . 85 5.3. Human Rights Implications of the Convention on the Diversity of Cultural Expressions . 88 5.4. Outcome of the Negotiation . 89 6. Assessment of the U.S. Position in the Trade and Culture Debate . 89 7. Conclusion: Impact of the U.S. Position on the Convention on the Diversity of Cultural Expressions in International Trade Negotiations . 91 Th e Convention on the Protection and the Promotion of the Diversity of Cultural Expressions. A Cultural Analysis Ivan Bernier . 95 1. Introduction . 95 2. Th e Purpose and Scope of the Convention on the Diversity of Cultural Expressions . 98 3. Th e.