International film co-productions are sometimes thought of by the Americans as a form of financing providing the U.S. with the ability to sell works to its most important export market, Europe. Europe prefers thinking of it as way to provide its market with works that reflect European culture and ideals. This thesis questions the reality of such a statement, using the examples of the EU, the U.S. and Canada. / The author first explains the mechanism of co-production within the framework of a presentation of the methods of film financing. Follows a twofold discussion on the current nature of international co-productions, on both the international and national levels. / A considerable portion of this work examines the terms of the debate about the interplay between culture and trade. As an instrument used in the audiovisual industry, therefore strongly connected to cultural industries, international co-production is indeed an ideal model to represent the tensions existing between culture and global trade. This thesis sets international co-production up as a symbol of the interface between culture and trade. / Follows a debate on the congruity of the existing global and regional trade agreements for the protection of a culture always weaker in its diversity and propagation. With the prospect of the imminent phasing out of the sectoral exemptions allowed by the GATS, the inadequacy of the NAFTA cultural exemption and current quota policy systems, what would be best to calm down the tensions between culture and trade? Three solutions are discussed here: the New International Instrument on Cultural Diversity; a powerful competitor to the American majors such as Vivendi-Universal, and the technique of co-ventures.

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This thesis deals with Qatar's cultural policy and question of national identity. The main goal of the thesis was to analysis Qatar's foreign cultural policy and to identify its main pillars. These pillars aim to help the foreign public to build their imagination of Qatar, its culture and values. The theoretical framework of the thesis goes back to theories of public diplomacy, cultural diplomacy and nation branding. These theories define benefits of foreign cultural presentation for state and specify conditions of successful presentation. Beside that they also describe role of state and non-state actors in the process of foreign presentation and point out the most effective tools towards foreign public. The theoretical background is followed by an analysis of Qatar's public and cultural diplomacy. The analysis starts with Qatar's initial projects which include the foundation of satellite channel network al-Jazeera and opening of big education campus in Doha Education City. Further chapters concentrate on new cultural policy as it is defined by national development projects. Since the main topic of the thesis is Qatar's foreign cultural policy the text includes also reactions of international media, organizations and other states to Qatar's activities. The conclusion of the thesis summarizes ideas...

本文以北京798 艺术区作为研究对象，探讨它如何为中国当代艺术进入公共视野提供平台，并提出了艺术作为都市生产力的问题。本文根据时间顺序将其发展分为三个历史阶段，即1951-1993 年的718 联合厂时期、1995-2005 年的民间艺术社区、2006-2011 年的官方创意产业园区；并从三个方面展开讨论。首先，798这一空间本身的身份经历了两次转变--从工业生产的空间到以艺术创作为基础的创意社区；再到后来为政府收编，成为城市建设文化范本。本文为此历史发展做系统性研究。其次，798 的转型体现了建筑、族群与城市身份间的关系，一方面，民间自发改造工业遗留空间，另一方面，城市政策的制定与规划也对798产生直接和间接的影响；第三，本文重点讨论798 从民间自发形成的创意社区到政府收编后变身为文化创意产业区的过程中，艺术（包括艺术家）与经济（资本家和商业化）、与政治这三者之间的关系和张力。本文指出，此互动过程把798发展成一个创意产业园区，以798 为中心，向周边地区辐射，形成集生产、创作、展出、贩卖为产业链的艺术交易区域，即「泛798 区域」，798 成功地引起人们关注中国当代艺术，并从体制层面思考其未来的发展该如何与经济、政策相互平衡，同时798 作为一个个案，也提示我们关注有关城市文化用地的相关问题。 / This article takes Beijing 798 Art District as its research subject. It focuses on how 798 provides the platform for the Chinese Contemporary Art to enter the public view, and it proposes that art can be productive power to urban development as well. This thesis is divided into three sections according to its historical development: the 718 joint factory period from 1951 to 1993, the folk art community from 1995 to 2005, and the official Creative Industrial district from 2006 till 2011. My discussion mainly focus on three aspects. Firstly, as a space, 798 has been transformed twicse, from an industrial space to an arts community, and then to an official cultural paradigm for other cities to follow. Secondly, the transformation of 798 embodies the relationship among people's living, business operation, and city's identities. For one thing, the artists transformed the space to a facilitate their creation; for another, the policy of the urban planning has influenced 798's development as well. Thirdly, the thesis discusses the tensions among art, capital and politics. The result of their negotiation is that 798 becomes a creative industrial district, in which the original 798 site occupies the centre position, its radiating its influences and coordination to the surrounding areas, and they form the industrial chain which is now generally called the "Greater 798 Zone". 798 brings public attention to Chinese contemporary art, which helps us to relate arts and industry, to understand the difficult balance of contemporary art development between capital and policy. 798 also calls our attention to the relationship between culture and land. / Detailed summary in vernacular field only. / 張媞. / "2012年9月". / "2012 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 132-137). / Abstract in Chinese and English. / Zhang Ti. / 目录 --- p.3 / 引言 --- p.4 / Chapter v --- 研究背景 --- p.4 / Chapter v --- 研究目的及内容 --- p.6 / Chapter 第一章： --- 718联合厂时期（1951-1993） --- p.13 / Chapter v --- 近代北京工业建筑的历史 --- p.13 / Chapter v --- 718 联合厂：从筹备施工到投入生产 --- p.15 / Chapter v --- 工人阶级的「集体身份」--集体生产和集体生活 --- p.24 / Chapter v --- 一去不复返的「集体生产」和「集体生活」新时期旧厂房 --- p.33 / Chapter 第二章： --- 从生产的空间到创意社区(1995-2005) --- p.35 / Chapter v --- 90 年代的北京「城市化」进程 --- p.36 / Chapter v --- 从「地下」到「地上」：中国当代艺术史的简短梳理 --- p.38 / Chapter v --- 用于展览的空间被展览的空间：闲置工厂空间的转生 --- p.43 / Chapter v --- 798 艺术区的形成：创意阶层的萌芽和身份的建立 --- p.53 / Chapter 第三章： --- 创意社区的夭折创意产业园区大行其道（2006-2011） --- p.79 / Chapter v --- 创意社区VS 文化创意产业区 --- p.80 / Chapter v --- 园区规划和管理 --- p.94 / Chapter v --- 泛798 区域VS 文化用地 --- p.115 / 结语 --- p.125 / 参考书目 --- p.132 / 参考网站 --- p.134

This thesis examines the way in which dance work produced by postcolonial dance artists is often misread and exoticised by critics, funders and audiences. Yet the works produced have a disruptive effect and are products and clear indications of the sometimes oppressive processes that create cultural representation and identities. These postcolonial dance artists also have to contend with problematic umbrella terms such as ‘Black’ and ‘South Asian’ which are not fully descriptive of their dance practice and have the effect of stereotyping the work produced. The thesis investigates the artists Mavin Khoo, Shobana Jeyasingh, Akram Khan, Bode Lawal, Robert Hylton and Phoenix Dance Company who have created works that have asserted their individual agency through the use of particular cultural dance practices and have engaged in concepts such as classicism, modernism and postmodernism in order to establish a place within the British dance canon. Choreographic work produced by artists such as Khoo and Hylton have ‘educated’ audiences about the dance traditions that have been ‘passed down’ to them, whilst artists and companies like Phoenix have worked within a primarily Western medium, yet acknowledging that their work is informed by their distinctive African, African-Caribbean and Indian identities also. Although the work produced by these artists is often viewed from a white and Eurocentric perspective and exoticised to fit with conventional notions of ‘Indianness’ and ‘Blackness’, this thesis demonstrates that through the use of methodologies from cultural theory/policy, postcolonial theory and dance studies it is possible to reveal and illuminate meanings in the choreography and performances of postcolonial artists, and open up the dialogue that their works initiate in a multicultural and globalised context.

At the beginning of the twenty-first century, cultural policy in Scotland was dominated by the political ideas and priorities of New Labour. Post-devolution government in Scotland, in line with wider British policy, encouraged a new role for the heritage and culture sector, with a new insistence on the language and implementation of a ‘social inclusion’ agenda. However, more than a decade after devolution, changes in government and economic crisis have reconfigured the priorities of the Scottish museum sector. Central questions posed in this thesis are: Has the Scottish museum’s societal role (as promulgated by Labour) been disrupted and altered by recent political and economic shifts and by the threat of future upheavals? And if so, how? What is the current direction of reform within the Scottish museum sector? What are the current narratives of education promulgated within the sector? What symbolic traits are projected by the contemporary museum in Scotland? Building on previous research and theory in museological studies, this thesis offers a fresh perspective on the educational and social role of the contemporary museum in Scotland. Following on from Hewison (1987), I argue that museums in Scotland are responding to post-industrial malaise and fear of decline. Unlike Hewison, however, I argue that this response carries little nostalgia or naïve adoration of the past, but instead seeks to position the museum as an exemplar of stability, business sense and creative thinking in a context of societal anxiety. The National Galleries of Scotland provides an appropriate case study to explore the role and response of the Scottish museum sector to the economic and political uncertainty of the modern era. NGS is one of Scotland’s most prominent and oldest ‘heritage’ institutions, attracting over one million visitors a year. It is also a multisited, national institution, directly supported by government and closely aligned to official cultural policy. This thesis uses archival research and ethnographic methods such as interviews and observation to reveal shifts in educational and reform narratives within the Scottish museum sector as well as underlying ideas that shape these narratives. Conducted over the course of three years, from 2011 to 2013, this research is situated at an interesting time for the Scottish museum sector, as Scottish society wrestles with the economic uncertainty of the early twenty-first century.

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Cette these propose une interpretation de l'histoire du centre culturel montrealais, la Place des Arts, depuis les origines du projet en 1954 jusqu'a la nationalisation de l'institution en 1964. L'analyse qui en est offerte privilegie l'etude des fonctions politiques attribuees au centre culturel pendant cette periode. Elle montre comment cette institution culturelle a servi de catalyseur et de symbole pour nombre d'acteurs sociaux implique dans les changements radicaux qui caracterisent la Revolution Tranquille. Elle dresse ainsi un tableau des grandes forces ideologiques, sociales et politiques presentes au debut des annees Soixante en s'appuyant sur l'etude de cas de la Place des Arts dont l'histoire particuliere est mise en perspective avec des tendances plus structurelles de la societe quebecoise. / L'etude de ces differentes dimensions de l'histoire de la Place des Arts confirme le caractere profondement politique que peuvent revetir des institutions dont les fonctions originales se limitent en apparence a des activites artistiques. (Abstract shortened by UMI.)

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