[雙語翻譯]---外文翻譯--市場機遇國際貿(mào)易中的文化產(chǎn)品和服務（節(jié)選）

1、2450 單詞， 單詞，13800 英文字符， 英文字符，4100 漢字 漢字出處： 出處：Carter C, Durand M. Market opportunities: International trade of culture goods and services[J]. Focus on Culture.Market opportunities:International trade of culture goods and

2、 servicesQuarterly Bulletin from the Culture Statistics ProgramCatalogue no. 87-004-XIB Winter 2000 Vol. 12, No. 4By Cindy Carter and Michel DurandCanada’s 2001 Speech from the Throne outlined the significance of the nat

3、ion’s culture in an increasingly globalized world. It recognized that the opening of new markets provides new outlets for Canadian cultural commodities and services. Accordingly, the government has made a commitment to a

4、dvance Canadian culture by providing Canadians and international audiences with enhanced access to Canadian-made culture goods and services.Key industry players believe that globalization provides opportunities for Canad

5、ians to increase culture exports, particularly in those niche markets where Canada is known to be competitive. As the domestic market is small, the growth of international trade is fundamental if Canadian companies are

6、 to compete over the long term. Government policy works to ensure that Canadian culture goods and services, which reflect a community with ancestral roots in almost every country in the world, will also appeal to a growi

7、ng international audience. While culture goods and services are highly marketable commodities, the globalization of culture also accentuatesCanada’s traditional concerns about foreign content and foreign control of the d

8、omestic marketplace. Just as expanded international trade opens new markets for Canadian goods, it increases our exposure to the culture wares of other countries. Consequently, the focus of new cultural policies, as foun

9、d in the Speech from the Throne, is on excellence in the creative process, the creation of diverse Canadian content and improved access to the arts and heritage for all Canadians. Canadian creators (artists, writers, and

10、 performers) are called upon to promote Canadian creativity across all media.The international context for trade incultural goodsAccording to the United Nations Educational, Scientific and Cultural Organisation (UNESCO)

11、Institute for Statistics, world trade in cultural goods rose from $47.8billion (U.S.) in 1980 to $213.7 billion (U.S.) in 1998(from $12 per capita in 1980 to $45 in 1997).1 In 1998,culture goods exports exceeded imports

12、in developing countries, whereas in the developed countries, the reverse was true.According to UNESCO, in 1998,global flows of trade in cultural goodswere concentrated between relatively few countries with trade that was

13、“unbalanced, heavily weighted in one direction with few producers and many buyers.”While the balance of trade in cultural goods (i.e. the difference in value between imports and exports) was relatively even for most coun

14、tries, trade surpluses or deficits were sizeable for a number of very active trading nations. The main net exporters (countries with the most significant trade surpluses)were Japan, China, Malaysia,Mexico, Ireland and th

15、e Republic of Korea. The main net importers(significant Excluding North America, the value of trade in the remaining regions has declined with the exception of the Middle East where the value of Canadian exports increase

16、d by over 5% between 1996 and 2000 Markets in the ‘Other Asia’ region offer opportunities for Canadians that, as yet, have not reached their potential. Canadians had anticipated growth in trade with this region but many

17、of these markets were affected negatively by the Asian economic crisis in 1997-98. In 2000, Canada saw improvements with exports reaching 90% of pre-crisis levels, in terms of value, for all commodities. Given its curren

18、t performance in commodity markets other than the United States (e.g., Central America, Oceania and the Middle East10), it would appear that there is scope fo Canadian exporters to make important gains in market access n

19、egotiations in these regions. Aggressive trade promotion, more effective on-the-spot representation, and competitive financing will undoubtedly be part of a concerted marketing effort by CanadiansCanada one of world’s gr

20、eatest importers of culture productshave emerged as the dominant players in the culture industries in Canada. The reasons are simple. These foreign subsidiaries tend to market imported goods thathave often already recove

21、red their costs in their home markets.Furthermore, the revenues from the distribution of these products do not accrue to the Canadian companies that are the most likely to help finance the development of domestic talent.

22、 These multinationals enjoy natural advantages of scale in serving a North American market. Little or no risk is involved in distributing their popular,“mass-appeal” U.S. films, books, and recordings in Canada. Our books

23、tores,news stands, record shops, cinemas and television screens testify to Canada’s position as one of the greatest importers and consumers of cultural products in the world. Canadians enjoy wide access to other cultures

24、 through imported products; in part, the multicultural composition and heritage of our population feed this interest.Foreign multinationals are not the only ones involved in distributing imported culture products to Cana

25、da. Given the small size of the main markets in Canada it is extremely difficult to develop, produce and distribute Canadian products at a profit. This is particularly true for the production of French-language products

26、for the small domestic market. The result is that Canadian companies, which finance the overwhelming majority of the “l(fā)ess profitable” Canadian cultural products, do not usually become self-financing by dealing in Canadi

27、an products alone. Financial solvency often comes from the licensing and distribution of imported products for sale in Canada.In 1996-97 theimportation of culture products by Canadian-controlled firms accounted for 57% o

28、f their record sales, 44% of their book sales, and 69% of their film and video distribution revenue, an indication of the role and contribution of imports even for Canadiancontrolled companies.As both Canadian and foreig

29、n players are competing for the higher profit margins associated with the distribution of imported cultural products, it is not surprising that the market share of local productions is eroding somewhat. The continued dem

30、and for imports are making the culture economy, in particular indigenous culture development, a very fragile,volatile and highly competitive sector.For example, Canadian theatrical films represented only 2.1% of revenues

31、 of theatrical films distributed in 1997-98 while Canadian home entertainment films (TV and PAY-TV)accounted for 12.4% of total revenue from this activity in the same year. However, on the positive front,imports of cultu