Academic literature on the topic 'Cultural property – France'
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Journal articles on the topic "Cultural property – France"
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Kerr, John. "The state of heritage and cultural property policing in England & Wales, France and Italy." European Journal of Criminology 17, no. 4 (October 1, 2018): 441–60. http://dx.doi.org/10.1177/1477370818803047.
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Presenting a large threat to irreplaceable heritage, property, cultural knowledge and cultural economies across the world, heritage and cultural property crimes offer case studies through which to consider the challenges, choices and practices that shape 21st-century policing. This article uses empirical research conducted in England & Wales, France and Italy to examine heritage and cultural property policing. It considers the threat before investigating three crucial questions. First, who is involved in this policing? Second, how are they involved in this policing? Third, why are they involved? This last question is the most important and is central to the article as it examines why, in an era of severe economic challenges for the governments in the case studies, the public sector would choose to lead policing.
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Paumgartner, Nikolaus Thaddäus, and Raphael Zingg. "The Rise of Safe Havens for Threatened Cultural Heritage." International Journal of Cultural Property 25, no. 3 (August 2018): 323–46. http://dx.doi.org/10.1017/s0940739118000188.
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Abstract:In light of the recent rise of destruction and looting of cultural property, a need for formalized heritage protection has arisen. Increasingly popular in the debate has become the instrument of international assistance known as “safe havens.” These temporary refuges for at-risk cultural goods in a third country have recently been implemented by Switzerland, France, the United States, and the Association of Art Museum Directors. We assess the contributions and shortcomings of these four regimes using a comparative approach. Mainly, we find that, despite variations in their scope and structure, none of the models accounts entirely for today’s major difficulties in protecting endangered cultural properties. We draw recommendations for future safe haven states against the backdrop of the existing models and hope to see the instrument used in practice as a way to safely isolate cultural property from destructive conflicts.
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LEUCHTER, TYSON. "THE ILLIMITABLE RIGHT: DEBATING THE MEANING OF PROPERTY AND THEMARCHÉ À TERMEIN NAPOLEONIC FRANCE." Modern Intellectual History 15, no. 1 (March 28, 2016): 3–32. http://dx.doi.org/10.1017/s1479244316000081.
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At a critical moment during the Napoleonic era, the stockbrokers of Paris were summoned before the Council of State to defend themarché à terme, or futures contract in public debt. Surprisingly, despite official disdain and ample legal opportunity for prohibition, the brokers’ argument was successful, and themarché à termeescaped repression. The defense of themarché à termeturned on the nature of property. To critics, it divided property from possession, severing property from any concrete anchors. Advocates, by contrast, pointed to the inherent abstraction of property encoded in legal norms. These debates helped shape a concept of property in which economic utility, legal validity, and moral grounding converged. As a central pillar of the new regime, this concept of property also constrained political authority. The successful defense of themarché à termeshows that property was a right that not even authoritarian regimes could restrict arbitrarily.
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Jakubowski, Olgierd. "Karnoprawna ochrona dziedzictwa kulturowego przed zniszczeniem w wybranych państwach europejskich – zarys zagadnienia." Studia Prawnoustrojowe, no. 44 (January 6, 2020): 153–69. http://dx.doi.org/10.31648/sp.4901.
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Properly constructed criminal law provisions can prevent the destruction of heritage. The laws of the European Union are not an appropriate toolto reduce this phenomenon, although an analysis of criminal laws of individual countries may help in developing effective solutions in the Polish legalsystem. This article presents the criminal law solutions to protect againstthe destruction of heritage in France, Italy and Austria. Comparison of theprovisions in these European countries allows the effective scope of protection of their cultural property to be indicated and to assess the possibility ofincluding some of the standards to the Polish system of heritage protection.
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Bellisari, Andrew. "The Art of Decolonization: The Battle for Algeria’s French Art, 1962–70." Journal of Contemporary History 52, no. 3 (October 17, 2016): 625–45. http://dx.doi.org/10.1177/0022009416652715.
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In May 1962 French museum administrators removed over 300 works of art from the Musée des Beaux-Arts in Algiers and transported them, under military escort, to the Louvre in Paris. The artwork, however, no longer belonged to France. Under the terms of the Evian Accords it had become the official property of the Algerian state-to-be and the incoming nationalist government wanted it back. This article will examine not only the French decision to act in contravention of the Evian Accords and the ensuing negotiations that took place between France and Algeria, but also the cultural complexities of post-colonial restitution. What does it mean for artwork produced by some of France’s most iconic artists – Monet, Delacroix, Courbet – to become the cultural property of a former colony? Moreover, what is at stake when a former colony demands the repatriation of artwork emblematic of the former colonizer, deeming it a valuable part of the nation’s cultural heritage? The negotiations undertaken to repatriate French art to Algeria expose the kinds of awkward cultural refashioning precipitated by the process of decolonization and epitomizes the lingering connections of colonial disentanglement that do not fit neatly into the common narrative of the ‘end of empire'.
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Rothfeld, Anne. "RETURNING LOOTED EUROPEAN LIBRARY COLLECTIONS: AN HISTORICAL ANALYSIS OF THE OFFENBACH ARCHIVAL DEPOT, 1945–1948." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 6, no. 1 (March 1, 2005): 14–25. http://dx.doi.org/10.5860/rbm.6.1.238.
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In 1944, Pierce Butler wrote, “ever since libraries have existed, war has been one of the chief agencies of [their] annihilation.”2 The looting and destruction of cultural treasures during wartime is an established fact throughout Western history, including Greek and Roman times as well as during the Crusades, when empires stripped defeated nations of their cultural heritage. During the Napoleonic Wars in the early nineteenth century, Napoleon had an army of art commissioners who were ordered to locate and seize valuable cultural property, including whole libraries, for transfer to France. But the systematic Nazi confiscation of European cultural treasures in . . .
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Cox, Douglas. "“INALIENABLE” ARCHIVES: KOREAN ROYAL ARCHIVES AS FRENCH PROPERTY UNDER INTERNATIONAL LAW." International Journal of Cultural Property 18, no. 4 (November 2011): 409–23. http://dx.doi.org/10.1017/s0940739111000245.
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AbstractIn June 2011, France returned to South Korea nearly 300 volumes of Korean royal archives from the Joseon Dynasty. French forces had seized them in an 1866 military campaign, and the volumes had resided in the Bibliothèque nationale de France (BnF) ever since. The return is not a legally permanent restitution, but rather a five-year renewable loan. The compromise followed years of unsuccessful negotiations and a noteworthy decision of a French administrative tribunal that found that the seized Korean archives constituted inalienable French property. The legal debate over the Korean manuscripts illustrates the unique complexities of treating archives as a form of cultural property in armed conflict. In the end, the imperfect compromise satisfies neither side: The BnF is deprived of custody of items that have formed part of its collections for more than 140 years while technically, and perhaps uselessly, retaining formal legal title; South Korea, meanwhile, has physical custody of the archives while suffering the indignity of being denied ownership over its own national heritage.
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Cœuré, Sophie. "Cultural Looting and Restitution at the Dawn of the Cold War: The French Recovery Missions in Eastern Europe." Journal of Contemporary History 52, no. 3 (November 23, 2016): 588–606. http://dx.doi.org/10.1177/0022009416658700.
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France was massively affected by Nazi looting and plundering, and was also probably one of the most successful countries in securing the return of cultural property. Drawing on recently opened Archives, this article reflects on the entangled history of the ‘recovery’ of works of art in Soviet occupation zones, in Poland, Czechoslovakia and in the GDR, focusing on the French investigations in the East. The micro history of this fieldwork allows for an interpretation of looting and restitution as a transnational moment of political and memory construction. The article first presents the organization of missions in the changing landscape of Europe, leading to the beginning of an East-West relationship on the ground. Then it analyses French and Soviet visions of the notion of looting, restitution and cultural property and finally concludes by attempting to interpret a loss of memory.
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Miles, Margaret M. "Cicero's Prosecution of Gaius Verres: A Roman View of the Ethics of Acquisition of Art." International Journal of Cultural Property 11, no. 1 (January 2002): 28–49. http://dx.doi.org/10.1017/s0940739102771567.
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Cicero's speeches and essays—especially the Verrines—were widely read in France and England during the late eighteenth and early nineteenth centuries, when they were used in public debates about the fate of art in wartime. The early development of the concept of “cultural property” owed much to careful readings and citations of Cicero's views. The main charge brought against Verres in 70 B.C. was extortion during his term as governor of Sicily, but in the course of his prosecution Cicero depicts Verres as a rapacious collector of art who even took cult statues from temples for his private collection. This portrait of a “collector” who felt entitled to anything he could get and who abused his official authority to acquire works of art was recalled and used in debates about “collecting” many centuries later. This paper examines how Ciceronian views contributed to the development of the concept of art as cultural property.
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Karrels, Nancy Caron. "Reconstructing a Wartime Journey: The Vollard-Fabiani Collection, 1940–1949." International Journal of Cultural Property 22, no. 4 (November 2015): 505–26. http://dx.doi.org/10.1017/s0940739115000296.
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Abstract:In 1940, the British Admiralty detained a British passenger ship sailing from Lisbon to New York at the port of Hamilton, Bermuda, for a contraband search. Customs authorities seized four crates containing hundreds of artworks by leading European artists. Suspected of being sent to New York for sale by the French art dealer Martin Fabiani for the economic benefit of German-occupied France, the captured collection—originally the property of art dealer Ambroise Vollard—was confiscated as a prize of war and sent to Ottawa, Canada, for wartime safekeeping. The National Gallery of Canada stored the collection from 1940 to 1949, when British courts instructed the collection’s Canadian custodian to release it to its rightful owners, Fabiani and the Vollard heirs. This essay reframes the wartime journey of the Vollard-Fabiani collection and challenges the long-held notion that it belongs to the narrative of Nazi-looted cultural property. This essay also highlights an important role played by the National Gallery of Canada during World War II.
Dissertations / Theses on the topic "Cultural property – France"
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Kwon, Cherry. "La protection du patrimoine culturel : une comparaison entre la France et la Corée." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010321.
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Le patrimoine culturel est par sa nature une exposition de l'identité nationale ainsi qu'un symbole de la souveraineté. L'étude comparée sur cela offre donc la possibilité à des implications au-delà d'une comparaison des institutions concernées. Le système du patrimoine culturel de la France issu de la Révolution est en effet réputé à l'heure actuelle comme étant le plus développé au monde. La Corée, de l'autre côté du globe, ne cesse de poursuivre les mesures de réforme, notamment depuis l'entrée en vigueur de la loi relative à la protection des biens culturels en 1962. L'accent dans le présent travail a été mis sur le patrimoine et la terre, car le lien particulier entre ceux-ci est considéré comme un terrain fertile pour la comparaison. Compte tenu de la prédilection traditionnelle des français sur le terrain, l'analyse du patrimoine immobilier alimenterait de nouvelles perspectives pour la Corée. Il est à noter que si ledit patrimoine est celui « protégé », le patrimoine exclu de la protection, dit patrimoine non protégé, entre dans le champ de cette étude. Certes, la présence du régalien est dominante en la matière par rapport à d'autres domaines culturels. Pour autant, en France a entamé une politique de décentralisation culturelle en 1982 et 1983 ; ce mouvement s'accélérant dans les années 2000. A l'opposé, la politique patrimoniale coréenne se trouve encore dans les mains de l'Etat. Les personnes privées comme les fondations et associations ont adhéré à la démarche du patrimoine culturel et les activités de mécénat et de partenariat public-privé ne sont plus inconnues en la matière. Somme toute, la protection du patrimoine va reposer, en premier lieu sur la conciliation de l'intérêt public et des intérêts privés, en deuxième lieu sur celle de l'intérêt national et de l'intérêt local et, en troisième lieu, sur celle de l'intérêt des générations passées, présentes et futuresCultural heritage is by its own nature an exposition of national identity as well as a symbol of sovereignty. Thus a comparative study on it would give rise to implications beyond the relevant institutions. The cultural heritage system of France, a culmination of the Revolution, has indeed held an enduring reputation as the most sophisticated one in the world. Korea, on the other side of the globe, has been pursuing ambitious reform measures, ever since the enactment on the Protection of Cultural Property in 1962. Emphasis in the present work has been placed on the cultural heritage and the land. The reason is that the unique relationship of the two is believed to be fertile ground for comparison. Traditional attachment in France to the land in case of tangible or material cultural “patrimoine” would very well bring about fresh perspectives to Korea. It is to be noted that those cultural properties, not classified as “protected” ones thus falling out of the umbrella, are also dealt with rather extensively. One may find that state intervention or engagement is much more conspicuous in case of cultural heritage, as compared to other areas of culture. Decentralization epitomizes the administration of cultural “patrimoine” in France since 1980s, whereas role of the central government dominates in Korea, although foundations, associations and MECENATs are on the rise in numbers and activities. Lastly the task of interest-coordinations are highlighted in every facet of the protection : namely public v. private, national v. regional/local, past/present generation v. future generation
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Voizard, Karl-Henri. "L'Etat culturel et le droit : approche juridique des interventions culturelles de l'Etat en France." Thesis, Paris 2, 2011. http://www.theses.fr/2011PA020038.
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La présente thèse fait l’hypothèse que l’analyse juridique doit permettre de dégager le sens des interventions culturelles de l’État. Par-delà l’extrême diversité des objets dont elles se saisissent, les règles qui composent le droit de l’action culturelle des pouvoirs publics présentent en effet des caractéristiques communes. Leur examen montre que les principes auxquels elles obéissent dessinent les contours d’une figure:celle de l’État culturel. La démonstration s’articule en deux temps. Il est d’abord montré par quels moyens juridiques les dispositifs classiques des interventions culturelles de l’État sont orientés pour renforcer la cohésion nationale : l’État produit des institutions dans le but de mettre les individus en contact avec la culture et de fédérer autour de celle-ci ; il protège dans le même temps les biens et agents indispensables à l’inscription de ces institutions dans la durée. Il est ensuite montré que les réformes de l’État et les modifications du droit applicable dans le secteur culturel n’ont pas vraiment fait plier la logique initiale : les formes juridiques de l’action sont certes plus nuancées, mais elles transforment l’État culturel plus qu’elles ne le remettent en causeThis thesis assumes that legal analysis should enlighten the global meaning of cultural actions of the State. Beyond the wide variety of objects concerned, rules composing law oncultural activities of public authorities show common features. Their review shows that principles they follow draw the outlines of a figure: the one of the cultural State. The demonstration is organized in two phases. It is first shown what legal mechanisms are concerned when conventional means of cultural interventions of the State are focused tostrengthen national cohesion: the State produces institutions in order to link people withculture and unite around it. In the same time, it protects the property and agents necessaryto assure these institutions in the long term. It is then shown that the State reforms and cultural law changes did not really bend the initial logic: the legal forms of action are certainly more nuanced, but they change the State culture more than they challenge it
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Terrier, Emilie. "Vers une nouvelle figure du droit d'auteur. L'affirmation d'une logique publique culturelle." Thesis, Poitiers, 2018. http://www.theses.fr/2018POIT3008.
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Les champs du droit d'auteur et de la culture semblent a priori guidés par des logiques diamétralement opposées : logique personnaliste pour l'un, logique publique culturelle, pour l'autre. Notre étude se donne cependant pour objectif de dépasser ce postulat en démontrant la manière dont les logiques personnaliste et publique culturelle s'entrecroisent. L'immatériel constitue aujourd'hui un levier incontournable de l'action publique. Réciproquement, en droit d'auteur, le législateur instaure un véritable dialogue entre logique réservataire et intérêt général. Si la dimension sociale de la propriété littéraire et artistique est présente dès les origines du dispositif de protection, l'environnement numérique a néanmoins contribué à questionner de manière inédite la légitimité et les vertus du droit d'auteur. Sous l'effet de l'incursion réciproque d'une logique d'intérêt général en droit d'auteur et d'une logique personnaliste dans l'action publique culturelle, l'œuvre de l'esprit se trouve à la croisée des champs normatifs. Or, les impératifs publics qui s'expriment au sein de la sphère publique culturelle sont porteurs de changements pour le droit d'auteur. Plutôt que d'aborder la question de l'affirmation d'une logique publique culturelle en droit d'auteur sous le seul angle des tensions susceptibles de naître de la rencontre de ces champs normatifs, nos travaux s'attacheront à démontrer la construction d'une nouvelle figure du droit d'auteur. Au contact de ces impératifs publics, un espace singulier se construit au sein même du droit d'auteur tenant pour partie du droit privé, et pour partie du droit publicThe fields of copyright and culture seem to be guided by different logics. French copyright law is known to be author-oriented whereas the cultural field is guided by public interest. The aim of our study however is to prove this assumption wrong by demonstrating that both of these logics tend to intertwine. The intangible resources are nowadays a major lever of public action. Reciprocally, in the copyright law system, there is an important dialogue between public interest and author-centered philosophy. The common interest dimension goes way back to the very creation of copyright law. The digital environment contributes, nevertheless, to the raising of new questions about the virtues of copyright law. Those structural movements have a major impact on copyright law. Rather than address the matter of the assertion of a cultural public logic in copyright through the conflicts that can be raised by the meeting of these normative fields, we want to demonstrate the appearance of a new copyright figure. The encounter between the public imperatives and the copyright law creates a new space within the copyright system itself. This hybrid space is composed of both private and public law
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Wagener, Noé. "Les prestations publiques en faveur de la protection du patrimoine culturel." Thesis, Paris 11, 2014. http://www.theses.fr/2014PA111007.
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La thèse prend le parti méthodologique de ramener l'action de l'État en faveur de la protection du patrimoine culturel à une simple succession de « prestations ». Prenant au mot le point de vue néolibéral, elle entend se mettre ainsi en capacité d'embrasser d'un même geste l'ensemble des interventions de l'État en ce domaine, quelque soit les formes que celles-ci revêtent (édiction d'une réglementation et fourniture de services matériels). Ce faisant, l'enjeu de la thèse est de parvenir à déterminer « pourquoi » l'État agit en matière de patrimoine culturel, et plus précisément « pourquoi » il agit d'une certaine façon plutôt que d'une autre. Ce type d'interrogation fonctionnelle, auquel les juristes sont peu enclins, présente un avantage : il permet de replacer au cœur de l'analyse les manières particulières dont les catégories propres du droit contribuent à produire – bien plus qu'à décrire – les choix de protection du patrimoine culturel. Ainsi, l'observation diachronique, depuis la Révolution, des prestations publiques en faveur de la protection du patrimoine culturel fait apparaître qu'à plusieurs reprises, ces prestations ont pu, le plus sérieusement du monde, trouver leur source à l'extérieur de l'État, précisément dans un droit de la collectivité. Aussi, en matière patrimoniale se dessine, au-delà d'un processus d'étatisation progressive qui n'a, en soi, rien de bien original, un renversement complexe du rapport de l'État à la collectivité, en ce sens qu'au cours des XIXème et XXème siècles celui-ci se libère de celle-là, à grand renfort de reconceptualisations doctrinales. En définitive, ce n'est que quelque part dans l'entre-deux-guerre, après l'échec des théories du droit social, que l'on enferme définitivement l'explication juridique des prestations publiques en faveur de la protection du patrimoine culturel dans l'antagonisme entre puissance publique et droits fondamentauxThe thesis has made the methodological choice of reducing the action of the State for the protection of cultural heritage to a simple series of "services". Taking the neoliberal perspective literally, it intends to study all State interventions in this area, regardless of the shapes they assume (enactment of regulation and provision of services). In doing so, the scientific challenge of the thesis is to get to determine why the State acts in cultural heritage, and more specifically why it acts in a certain way rather than another. This functional interrogation, rarely asked by lawyers in France, is of interest as it questions the particular ways in which specific categories of law help to produce - much more than to describe - the choice of a particular cultural heritage protection. Thus, the diachronic observation of services, since the French Revolution, shows that on multiple occasions, these services have found, in all seriousness, their source outside the State, specifically in a community right. Also, beyond a progressive etatization process (which is not in itself very original), a complex reversal of the relation of the State to the society emerges : during the nineteenth and twentieth centuries, the State frees itself from the society, helped by a massive work of doctrinal reconceptualizations. It is only between World War I and World War II, after the failure of theories of social law, that the legal explanation of State services for the protection of cultural heritage is finally locked in the antagonism between the authority of the State and fundamental rights
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Behdad, Bahareh. "La série Le Petit Nicolas de René Goscinny (France) et Les Aventures de Madjid de Houchang Morâdi–Kermâni (Iran) : Regards croisés sur deux oeuvres patrimoniales en littérature de la jeunesse." Thesis, Le Mans, 2014. http://www.theses.fr/2014LEMA3007/document.
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Pour établir un pont entre la littérature pour la jeunesse iranienne et française, nous choisissons un sujet comparatif entre une œuvre française et une œuvre iranienne.dans chaque pays, seuls quelques titres ont survécu au temps, sont devenus des classiques et même des modèles. le petit nicolas en france et les aventures de madjid en iran, dont la pratique de lecture s'étale sur une trentaine d'années, sont tenus pour des chefs-d'œuvre et les personnages, nicolas et madjid, demeurent dans la mémoire des enfants ainsi que dans celles les adultes. ces deux œuvres ont été rééditées plusieurs fois au fil du temps et elles ont été exploitées sous diverses formes. les personnages ont été portés à l'écran et à la télévision, on peut entendre leurs histoires via des disques ou des cassettes et les récits voyagent loin de leurs frontières à travers la traduction. dans ces conditions, nous nous demanderons quels sont les critères pour qu'une œuvre de littérature pour la jeunesse connaisse un succès durable et parvienne à faire partie du patrimoine. pour cela, nous commencerons par identifier des critères à partir de sources critiques et de documents évaluatifs .de plus, les idées de j.-p. manganaro, y. hersant, m. orcel et m. van geetruyden nous aideront dans cet démarche . dans un second temps, donnant la priorité, non pas aux critères externes d'ordre sociologique mais aux paradigmes littéraires, nous serons amenée à examiner certains critères internes (la configuration esthétique, la narration et ses personnages, les stratégies d'écriture) et à considérer l'histoire de la réception (les traductions et adaptations). dans cette perspective, nous nous référerons, d'une part aux théories de genette et de jaap lintvelt, d'autre part à celles d'o'sullivan, vinay et darbelnet. la thèse comportera une partie de traduction (traduction de 60 pages des histoires de madjid d'iranien en français)Despite a relatively short history, children’s literature has already his classics: a certain number of editorial works constitutes a patrimony which remains vivacious and continues to be read by new generations who nourish and inspire more contemporary productions. The concept “patrimony” has therefore pertinence and a particular definition in the domain of“children’s literature”. That is what is explored from a crossed study of two literary works, one French and the other Persian, which have in common humor and statement in the first person singular: The Little Nicolas of Rene Goscinny and The Adventures of Majid of Houshang Moradi-Kermani. These patrimonial works are considered from a triple point of view: that of their national reception, their broadcasting and their commercial exploitation; that of their aesthetical intrinsic value; that of their reception in different cultures through translation and therefore by their uniqueness and universality.This qualitative research emphasize on French and Persian sources and on a deep study of questionnaires meant to readers and based on the corpus of the two works and their translations. From this perspective, we refer, for the question ofreception, to the works of Ferrier and Louichon, for the creation, to the theories of Maingueneau, Chambers and Chlovski and for the translations, to those of O’Sullivan, Chevrel, Vinay and Darbelnet
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Restrepo-Navarro, Paulina. "Le droit du patrimoine culturel colombien à l´épreuve de la restitution internationale des biens archéologiques : Quelle approche vis-à-vis des vestiges qui se trouvent à l´étranger ?" Thesis, Paris 11, 2013. http://www.theses.fr/2013PA111007.
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Vingt-cinq ans après la ratification de la Convention de l'Unesco de 1970 et un an après celle de la Convention d'Unidroit de 1995 par l’État colombien, il est pertinent de réaliser un état des lieux du droit du patrimoine culturel colombien et de son appréhension des problématiques liées à la circulation des biens archéologiques et à leur transfert de propriété. Si ces vestiges appartiennent incontestablement à la Nation depuis 1991, leur protection constitutionnelle ne suffit pas à satisfaire la politique nationaliste que ce pays-source souhaiterait mener. Le questionnement est donc double : d'une part, celui du régime juridique auquel les biens archéologiques sont soumis sur le territoire national et, d'autre part, celui des possibilités d'application de ce dispositif protecteur lorsqu'ils se trouvent à l'étranger. Il s'agit donc de s'interroger sur la clarté et la précision du régime juridique auquel ces vestiges sont soumis en droit colombien pour permettre à l’État de fonder des demandes en restitution ou de retour susceptibles de réussir et, aussi, de définir dans quelle mesure ce dispositif national peut être appliqué par les autorités et les tribunaux étrangers. Par ailleurs, les traités internationaux spécialement adoptés en la matière depuis la seconde moitié du XXe siècle semblent insuffisants en vue de répondre aux attentes colombiennes de restitution et de retour de ses biens archéologiques. La pratique a démontré que la lutte internationale contre le trafic illicite reste étroitement liée aux législations nationales, tant celle de l’État requérant que celle de l’État requis. Les stratégies contentieuses susceptibles d'être mises en œuvre devant les autorités et les tribunaux français ont été étudiées à titre d'exemple. Plusieurs acteurs sont au centre de ces disputes : les États, les peuples autochtones, les marchands d'art et les musées. La diversité de leurs intérêts révèle la complexité des rapports qui peuvent se tisser autour de ces vestiges considérés, selon les différents points de vue, comme des objets identitaires, sacrés, artistiques ou scientifiques.Enfin, au regard de l'évolution récente du droit du patrimoine culturel colombien, les conditions semblent présentes pour revisiter le rapport que ce pays entretient vis-à-vis des vestiges archéologiques d'origine colombienne qui se trouvent à l'étrangerIt has been more than twenty-five years since Colombia State ratified the 1970 Unesco Convention and one year later it ratified the 1995 Unidroit Convention. It is now relevant to evaluate Colombia’s cultural heritage law and its perception of the issues surrounding the international trade of archaeological objects and ownership transfer. If archaeological antiquities belong unmistakably to the Nation since 1991, their constitutional protection does not satisfy the nationalistic policy this source country would like to lead.The evaluation of cultural heritage law is a double issue. On the one hand, there is the problem of how the domestic laws are applied to archaeological objects within the national territory. On the other hand, there is the difficulty of implementing domestic legislation when the antiquities are abroad. It is therefore a question of assessing if Colombia’s cultural heritage legislation has a framework that is clear and precise enough to allow the State to succeed in its claims and of defining to what extent it can be reinforced by foreign authorities and courts.Furthermore, international treaties adopted in this field since the second half of the twentieth century seem insufficient to meet Colombia´s concerns. Practice has shown that the international fight against illicit trade is closely bound to domestic laws, either that of the requesting State or of the requested State. The litigation strategies that can be brought before French authorities and courts have been studied as an example.These conflicts concern several actors: States, indigenous people, art dealers and museums. Their different level of interests reveal the complexity of the relationships that can be built among these antiquities considered, according to the stakeholders’ point of view, as identity, sacred, artistic or scientific objects.Finally, the recent development of Colombia’s cultural heritage legislation seems to challenge the country’s relation with its archaeological objects abroad
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Daniel, Marko. "Art and propaganda : the battle for cultural property in the Spanish Civil War." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285847.
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Gueydier, Pierre. "HADOPI comme expérimentation : récit d'une instrumentation de l'action publique." Thesis, Paris, ENMP, 2014. http://www.theses.fr/2014ENMP0072/document.
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La Haute Autorité pour la Diffusion des Œuvres et la Protection des Droits sur internet (HADOPI) a reçu du législateur en 2009 la mission de discipliner les actes de contrefaçon de biens culturels sur internet. L'objectif central de la thèse est de produire un récit empirique de la genèse de cet instrument d'action publique comme expérience de gouvernement d'internet et des internautes. Bien que modeste et circonscrit, le problème posé par le téléchargement illicite va générer un débordement d'ampleur des cadrages de l'action publique, historiquement traduits par le droit de propriété littéraire et artistique. L'effet politique du numérique, conséquence déterritorialisée de la globalisation, du libéralisme et de la technologie, est de réinterroger le rapport entre souveraineté et discipline. Entre l'impasse des Mesures Techniques de Protection, les normes supra-nationales, les détournements des usagers/amateurs, la force collective des ayants droit, l'inaltérabilité du droit de propriété et les militants de la liberté d'accès à la culture, les pouvoirs publics ont dû inventer et innover pour organiser, à la manière d'un laboratoire, une action collective de fabrication d'un instrument d'action publique dont l'un des buts est d'étendre une valeur forte de l'État-nation français : la défense de l'exception culturelle. Les internautes sont-ils des hommes gouvernables ? En construisant une représentation de l'usager d'internet, en prônant l'obéissance, en modifiant les comportements par le biais de divers leviers progressifs d'incitation (de l'information à la sanction pénale) et en produisant autant de comportement de contournements et de résistance, la HADOPI produit le résultat politique d'inaugurer une tentative inédite, fragile, peu compacte mais pionnière de gouverner internet et les internautesThe High Authority for Transmission of Creative Works and Copyright Protection on the Internet (HADOPI) was adopted in 2009 with the mission to discipline acts of intellectual property infringement on the internet. The main purpose of this thesis is to produce an empirical account of the creation of this new law (an instrument of public action as an experience of internet governance and internauts). While it is a somewhat minor public issue, illegal downloading creates a myriad of issues across the framework of public action, historically recognised as literary and artistic property rights. The political effects of the digital age, deterritorialised consequences of globalisation, liberalism and technology necessitate a rethinking of the relationship between sovereignty and discipline. The gridlock between DRM; supranational norms; the hijacking of content by users; the collective power of rights holders; the unalterable nature of intellectual property and the militants for free access to culture; the public authorities had to invent and innovate an instrument of public action. The goal of which is to extend an added value of the French nation state: the defense of the cultural exception. Are internauts governable? In constructing a representation of the internet user, through promoting obedience, and by modifying behaviour through incremental incitation (from being informed to being penalised) and by producing as much unwanted behaviour, the HADOPI has effected the political result of inaugurating the first ever attempt (albeit fragile, yet pioneering) to govern the internet and internauts
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Deiller, Nicolas. "Le régime juridique des biens cultuels : vers une nouvelle approche du droit des cultes en France ?" Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCF007/document.
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Les biens cultuels, et plus généralement les cultes eux-mêmes, ont connu de nombreuses évolutions de leur régime juridique. S'intéresser au régime juridique des biens cultuels revient nécessairement à étudier le régime des cultes, dans sa globalité. En partant de la gestion des biens matériels des différents cultes, nous proposons une analyse de l'actuel droit des religions. En 1905, la loi sur la séparation des Églises et de l’État est votée. Loi éminemment politique, elle vise à séculariser les institutions publiques et propose une nouvelle organisation matérielle pour les différents cultes présents sur le territoire national. En vue de remplacer les anciens établissements publics du culte concordataires, des associations cultuelles, privées, sont mises en place : elles ont vocation à représenter le culte et à gérer ses biens matériels. La difficulté est apparue avec le refus de l’Église catholique de se constituer en de telles associations, obligeant ainsi le législateur à accompagner cette loi de séparation par un corpus juridique, prémisses des futurs accommodements étatiques en la matière. La loi de 1905 n'a pas été appliquée dans sa globalité dès sa promulgation et le corpus juridique qu'elle a engendré, a entraîné une multitude de compromissions envers deux cultes en particulier : l’Église catholique et l'Islam. Aujourd'hui, ces deux religions ne sont guère soumises aux dispositions de la loi de 1905, d'un point de vue tant matériel et organisationnel que financier. L'absence d'unité du droit des cultes en France (au sein même de la loi de 1905, en Alsace-Moselle et dans les DOM-TOM) n'est pas de nature à répondre aux interrogations que pose la métamorphose religieuse que connaît la France. Il est peut-être venu le temps de faire, à nouveau, évoluer ce régime juridique des cultes, en l'adaptant davantage au contexte religieux actuelCultual goods, and more generally the cults themselves, have undergone many changes in their legal system. To be interested in the legal regime of the cultual goods is necessarily to study the system of cults, as a whole. Starting from the management of the material goods of the different cults, we propose an analysis of the current law of religions. In 1905, the law on the separation of churches and the state was passed. An eminently political law, it aims to secularize public institutions and proposes a new material organization for the different cults present on the national territory. In order to replace the former public establishments of the cult concordats, cult associations, private, are set up: they are intended to represent the cult and to manage its material goods. The difficulty arose with the refusal of the Catholic Church to constitute such associations, forcing the legislator to accompany this law of separation by a body of law, premise of future state accommodations in this area. The law of 1905 was not applied in its entirety since its promulgation and the body of law it engendered resulted in a multitude of compromises to two cults in particular: the Catholic Church and Islam. Today, these two religions are hardly subject to the provisions of the 1905 law, from a material, organizational or financial point of view. The absence of unity of the law of cults in France (even within the law of 1905, in Alsace-Moselle and in the DOM-TOM) is not likely to answer the questions raised by the religious metamorphosis that occurs France. It may have been time to make this juridical regime of cults evolve again, adapting it more to the current religious context
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Denolle, Alice. "L'accès à la propriété des biens archéologiques. Etude de droit comparé, France, Etats-Unis." Thesis, Paris 11, 2013. http://www.theses.fr/2013PA111006.
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La France et les États-Unis ont reconnu l’importance de préserver les biens archéologiques situés sur leurs territoires en leur offrant une protection légale contre toute détérioration ou destruction, en vue de leur jouissance par les générations présentes et de leur transmission pour les générations futures. Cette importance fait écho à l’existence d’un intérêtpublic pour la préservation du patrimoine archéologique. Clé de voûte des législations protectrices, l’intérêt public prend sa source dans différentes valeurs qui sont assignées aux biens archéologiques: les valeurs cognitive, identitaire, esthétique et économique. Les législations protectrices des deux pays se sont développées autour de la promotion de lavaleur cognitive, et également, en ce qui concerne les États-Unis surtout, autour de la promotion de la valeur identitaire.Si les États-Unis et la France reconnaissent l’intérêt public qui s’attache à la préservation des ressources archéologiques, leurs droits n’ont pas pour autant tiré toutes les conséquences de la spécificité de ces ressources. En effet, le système de propriété sur lequel sont assises les législations protectrices est fortement emprunt du droit commun, qui ne laisse guère de place au statut spécial des ressources archéologiques qu’il envisage comme de simples biens. Cette assise se révèle être une source de tensions pour la protection des vestiges car elle soulève l’affrontement de deux intérêts antagonistes : celui de l’intérêt public, porté par l’objectif de préservation, et l’intérêt privé, exprimé à travers le droit de propriété. Ces tensions ne se manifestant qu’eu égard aux biens qui entrent dans le champ d'application des législations protectrices, la question de la définition légale des biens archéologiques s’avère être une question de prime importance. Son étude révèle qu’il n’existe aucun statut uniforme du bien archéologique dans les deux pays. Néanmoins, toutes leslégislations protectrices reconnaissent la spécificité des ressources qu’elles protègent, en développant des mécanismes protecteurs spécifiques. Les deux systèmes juridiques tendent à favoriser la mise en œuvre de mécanismes d’appropriation publique des biens archéologiques, la puissance publique étant perçue comme le propriétaire le plus apte à assurer l’intérêt public. Ces mécanismes se heurtent à la force de résistance opposée par la propriété privée. Toutefois, la propriété privée des ressources archéologiques n’est pas nécessairement synonyme d’absence de protection.Aucune propriété spéciale n’a ainsi été mise en oeuvre. Les conflits soulevés entre préservation et propriété des biens archéologiques dans les systèmes protecteurs actuels pourraient dès lors être résolus en tirant les conséquences de la spécificité des biens archéologiques. Il ne serait pas nécessaire de remettre en cause le système même de propriétéde ces biens. En tant que bien spécial, devrait lui être assignée une propriété spécialeFrance and the United States have both recognized the importance of preserving archaeological resources against any damage or destruction through legal protection so that their use by present generations and their transfer to future generations may be ensured. This importance is reflected through the existence of a public interest in the preservation ofarchaeological resources. The public interest is rooted in different values which are assigned to archaeological resources and which may be referred to as the cognitive value, the identity value, the aesthetic value and the economic value. In both countries the cognitive value appears to be the cornerstone of protective legislation.Even though the United States and France recognize that there is a public interest in preserving archaeological resources, the ownership of archaeological resources is still deeply governed by common law rules, according to which archaeological resources are seen as mere property. This dichotomy proves to be a source of tension between two competing interests:the public interest which lies in archaeological resources protection on the one hand, and the private interest, expressed through ownership, on the other hand.The legal definition of protected archaeological resources lies therefore at the forefront of the issue. In both countries, there is no uniform status of archaeological resources. However, protective legislation recognizes the very specificity of these resources, developing therefore specific protective schemes. The two legal systems tend to favor public ownership, the state being seen has the most suitable owner capable of ensuring preservation. But private ownership appears to be a strong opposition public ownership has to face. However, private ownership of archaeological resources does not necessarily equal lack of protection.No special property status has thus been implemented in either countries. Conflicts arising between preservation and ownership of archaeological resources in the current protective systems could therefore be resolved by drawing the consequences of the specificity of archaeological resources into the protective schemes
Books on the topic "Cultural property – France"
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Le patrimoine culturel immatériel: Premières expériences en France. Montréal: Leméac, 2011.
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Congrès national des archivistes français (32nd 1991 Tours, France). Les archivistes dans la France de demain. Paris: Archives nationales, Direction des archives de France, 1993.
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Toulier, Bernard. Architecture et patrimoine du XXe siècle en France. Paris: Editions du patrimoine, 1999.
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La France solde son patrimoine. Paris: Jean-Claude Gawsewitch, 2012.
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Martine, Plouvier, Brest Pierre-Yves, and Inventaire général des monuments et des richesses artistiques Languedoc-Roussillon (France), eds. Sur une frontière de la France, la Thiérache, Aisne. Amiens: Association pour la généralisation de l'inventaire régional en Picardie, 2001.
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Les lieux de l'histoire de France. Paris]: Perrin, 2017.
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Moncan, Patrice de. A qui appartient la France: Histoire de la propriété urbaine de 1789 à 2000 et état actuel de la propriété immobilière en ville. Paris: Mécène, 2000.
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Julien, Delannoy, Blieck Gilles, Le Bas Antoine, and Inventaire général des monuments et des richesses artistiques de la France. Commission régionale d'inventaire d'Ile de France., eds. Conflans-Sainte-Honorine, terre de confluences: Ile-de-France. Paris: APPIF, 2005.
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La France s'écrit en capitales. Monaco: Rocher, 2011.
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Ouverts au public, le guide du patrimoine en France: 2500 monuments et sites. Paris: Patrimoine, 2010.
Find full textBook chapters on the topic "Cultural property – France"
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Macknight, Elizabeth C. "Protecting property during revolution." In Nobility and patrimony in modern France. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526120519.003.0002.
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This chapter presents a wealth of new archival evidence on nobles’ actions and attitudes during the French Revolution. Various forms of property and evidence of ownership were destroyed or removed from nobles’ possession, which threatened nobles’ capacity to transmit economic, cultural, and symbolic capital to the next generation. Letters, wills, receipts, account books, certificates, passports, and petitions reveal how the effects of multiple decrees played out in personal and familial histories. For the nobility the rapid evolution of legislation meant that the consequences of any one revolutionary law became entangled with the consequences of another. Documentation of noblewomen’s experiences brings fresh insights and understanding to issues often over-looked in historical writing weighted toward aristocratic male military and political involvement.
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Levine, Alison J. Murray. "Depth of Field." In France in Flux, 63–91. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941787.003.0004.
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This chapter investigates the field of contemporary French documentary as a source for cultural representations of farmland and farm life, a segment of the national territory that has undergone profound change in the past half-century. Farmland, which represents over half of the surface area of metropolitan France, provides employment to an ever-smaller percentage of the population. The amount of land needed to make a living continues to grow, and farms are increasingly run by corporations rather than by people who live and work on the same property. Since 2000, a significant number of French documentaries have explored to the changes wrought to the landscape and to farm life by the agricultural industrialisation of the previous half-century. By reading across a broad collection of recent documentaries on farming, this chapter reveals the contours of a broader conversation about the emergence of, and need for, new forms of reconnection between the inhabitants of rural and urban France. The contours of this conversation emerge both in the documentary forms and practices in the films as well as new forms of interaction between films and their audiences.
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Macknight, Elizabeth C. "Incapacity and debt." In Nobility and patrimony in modern France. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526120519.003.0005.
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This chapter begins with the efforts to find a solution when an heir proved incapable of exercising responsibility for property affairs owing to a long-term illness or disability. Failure to address incapacity in an heir could jeopardise not only the individual’s patrimony but also the maintenance of the family’s economic, cultural, and social capital. Tutelle and curatelle were legal mechanisms for managing such situations and the chapter documents family decision-making in archival case studies. The second issue explored is the nature of aristocratic behaviour when financial debts strained or exhausted nobles’ control of economic capital. Causes of financial difficulties are analysed as well as the effects on health, moral attitudes surrounding borrowing, and the implications of chronic indebtedness for succession and family dynamics in modern France.
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Geoffroy-Schwinden, Rebecca Dowd. "Introduction." In From Servant to Savant, 1–18. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511510.003.0001.
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This introduction sets forth the book’s framework as well as its argument that the French Revolution was fundamental to the emergence of modern professional musicianship and music historiography. It begins with an explanation of the relationship between Old Regime privileges (privilèges), property, and musicians’ professionalization in eighteenth-century France. After an account of the Revolution’s Abolition of Privilege on August 4, 1789, the historiographies of the French Revolution and musicology are woven together with a particular focus on a new strand of hybrid material-cultural histories in the two disciplines, which offers a promising new approach to uncover the significance of musical changes during the French Revolution. The introduction concludes with a summary of the book’s chapters.
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"L’État comme propriétaire? Schools as Property in Nineteenth-Century France." In Institutions and Power in Nineteenth-Century French Literature and Culture, 219–34. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401200806_015.
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Schneider, Marius, and Vanessa Ferguson. "Rwanda." In Enforcement of Intellectual Property Rights in Africa. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198837336.003.0043.
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Found in East Africa, Rwanda borders the Democratic Republic of Congo (DRC), Tanzania, Uganda, and Burundi. It is a hilly and fertile landlocked state of 26,338 square kilometres (km). It is one of the smallest countries on the continent but is densely populated with 12.2 million people in 2017. Kigali is the capital of and largest city in Rwanda. It is also Rwanda’s economic, cultural, and transport hub and is found in the centre of the country. Most of the population lives in rural areas. Rwanda has a forty-five-hour working week and the currency used is Rwandan franc (FRW).
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Hancı-Azizoglu, Eda Başak. "Scientific Publishing in English for Non-English-Speaking Academicians." In Advances in Educational Marketing, Administration, and Leadership, 278–94. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7772-0.ch015.
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The majority of scientific research in the world is published in English. The chapter expands the discussion on English as a lingua franca a step further to initiate a discussion on English as a scientific lingua franca. English as a scientific lingua franca poses a significant challenge for the non-Anglo-Saxon scholars by disregarding their data sets and research unless the research is written in academic English with culturally determined rhetorical conventions. This chapter investigates why different cultures have tendencies to write in culturally affected writing styles and forms. Toward that end, the chapter shows how the failure to give proper attention to other rhetorical styles results in losing crucial intellectual information from the non-Anglo-Saxon scholars. With this in mind, the chapter offers short-term solutions for academicians to join in the scientific world despite possible language barriers.
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Schneider, Marius, and Vanessa Ferguson. "Senegal." In Enforcement of Intellectual Property Rights in Africa. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198837336.003.0045.
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Found in West Africa, at the westernmost point of the Sahel, Senegal surrounds The Gambia and is bordered by Guinea, Mali, Mauritania, and the Atlantic Ocean. It covers a surface of 196,712 square kilometres (km) and had a population of 15.4 million in 2016. The capital and biggest city of Senegal is Dakar, which is also the administrative, economic, and cultural centre of the country. About a quarter of the population lives around Dakar, and up to half in other urban areas. The currency used is the West African franc (CFA). The working week is from Monday to Friday, although during Ramadan, some offices may open and close earlier. The official languages are French and Wolof, both of which are widely spoken and understood.
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Murdoch, H. Adlai. "BUMIDOM." In Postcolonial Realms of Memory, 244–54. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620665.003.0023.
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The demographics of contemporary France show that there are an estimated 800,000 people of French Caribbean birth or descent presently living on the French mainland. Problematizating this presence properly begins with the end of the Second World War and the advent of two events closely situated in time: the inauguration of the ‘Trente Glorieuses’ period of French economic expansion (approximately 1946-1975), and the departmentalization law of March 1946. The need to respond to postwar labor shortages, and to regulate and stabilize the labour force being brought into France to address these shortages, gave rise to the birth of BUMIDOM as a state agency early in the Fifth Republic. BUMIDOM’s goal was to furnish a state-organized and -controlled labor pool. Migration to the metropole – and its attendant ethnic, cultural and linguistic corollaries there along with the socioeconomic transformation of the DOMs – has probably been the most visible consequence of BUMIDOM’s creation.
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Horta, Paulo Lemos. "Cosmopolitan Prejudice." In Cosmopolitanisms. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479829682.003.0013.
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Paulo Lemos Horta provides a novel perspective of cosmopolitanism in the service of empire through the works of the famous Richard Francis Burton, self-described “cosmopolite” and Kwame Anthony Appiah’s prime example of his cosmopolitan imperative to be open to cultural difference. The Victorian explorer, diplomat, and translator considered cosmopolitan experience—his conception of which was somewhat similar to Bender’s—essential to the success of the British Empire, both politically and culturally. Yet, as Horta argues, Burton and his notion of a properly cosmopolitan empire pose problems for Appiah’s cosmopolitanism, for Burton failed Appiah’s second imperative, to recognize the equal respect of reason and moral choice in every human being. Through Burton, Horta suggests the difficulty of disentangling cosmopolitan from counter-cosmopolitan impulses in the context of empire.
Conference papers on the topic "Cultural property – France"
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Sosa García, Omar. "Fragmentos de identidad insular: paisaje y cultura local como herramientas para la planificación turística de Agaete y Alghero." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Curso de Arquitetura e Urbanismo. Universidade do Vale do Itajaí, 2016. http://dx.doi.org/10.5821/siiu.6351.
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Algunas ciudades históricas costeras, con cierto potencial de desarrollo turístico y arraigadas tradiciones culturales, necesitan una planificación adecuada para afrontar dicho desarrollo. La sobreexplotación de la franja costera impulsa el deterioro de los valores que la hacen diferentes de otros territorios, razón básica de su posible atractivo turístico. Así, bajo la consideración de que la cultura local y el paisaje están intrínsecamente unidos, influencian el evolución de dichas ciudades y territorios y pueden ser la base de un desarrollo turístico ambiental y socialmente sostenible, se plantea el análisis, en los casos de Agaete y Alghero, de toda forma de expresión de la tradición histórica local para componer la imagen contemporánea de su cultura, donde el paisaje sea el elemento articulador de los espacios en los que esta cultura se desarrolla, permitiendo la comprensión de su ordenación física a través del territorio y su posterior puesta en valor. Some coastal historic cities with certain potential of tourism development and strong cultural traditions need a proper planning able to tackle such development. Overexploitation of the coastal strip drives the deterioration of the elements that make it different from other territories, basic reason for its possible tourist attraction. Local culture and landscape are inextricably linked, influence cities and territories development and can be the basis of an environmentally and socially sustainable tourism development. So, with Agaete and Alghero as cases of study, analysis of all forms of expression of the local, historical tradition will set the contemporary image of their culture, where landscapes articulate spaces in which this culture is developed, allowing to understand its territorial structure and its subsequent revaluation.
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Franco Arce, Samuel. "Someone’s treasure: a legacy for all?" In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.03.
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The Casa K’ojom in La Antigua Guatemala, Guatemala, houses a unique collection of physical objects and audiovisual materials devoted to Mayan cultural heritage, both tangible and intangible. What began as a private collection has evolved into a museum where thousands of visitors have learned about Mayan culture and music. This paper highlights the development and care of the collections from the perspective of the Casa K’ojom’s founder and current director, Samuel Franco Arce. It reviews the steps he is taking to preserve the collection’s analogue and digital material for the future, all the while not neglecting important non-digital artefacts. It also proposes future solutions to issues within an archive that has to address constantly changing technologies, user needs, audiovisual formats and intellectual property rights laws.