促进文化多元化欧洲挑战欧盟政策-正在建设中

　 2003【文化創意產業：全球思考?台灣行動】國際研討會 2003/3/26 會議資料

　 International Symposium on " Creative industry "?---- A Global Thought and Future Action in Taiwan

　中英文合稿：

　Promoting cultural diversity: a challenge for Europe, a policy for the European Union

　By Mr. Christophe Forax

　The spokesman for Viviane Reding.

　Current fields of competence include European policies for education, vocational training, culture, audiovisual policy, youth and sport.

　Your Excellency, esteemed professors, ladies and gentlemen,

　In his inaugural speech in May 2000 President Chen called for a better consideration of cultural diversity in Taiwan. He declared: “We must open our hearts with tolerance and respect, so that our diverse ethnic groups and different regional cultures may communicate with each other, and so that Taiwan's local cultures may connect with the cultures of Chinese-speaking communities and other world cultures, and create a new milieu of a cultural Taiwan in a modern century.”

　This concern and challenge also applies to the European Union as a community which will soon comprise 25 or more nations. With the enlargement of the Union to new countries, cultural diversity is becoming much greater and this will have to be managed as a tool for sustainable development and for combating the dark side of globalisation in the process of building Europe .

　I am, therefore, grateful for the opportunity offered by the Council for Cultural Affairs of Taiwan and the European Union Study Association of Taiwan to discuss the EU’s approach to cultural diversity and its promotion. I would like to thank Minister Tchen and Professor Hung for the invitation, which I have been pleased to accept as the Spokesperson for the European Commissioner responsible for Education and Culture, Mrs Viviane Reding. Mrs Reding has been a friend of Taiwan for many years, both at the time she was a member of the European Parliament and in her current office as member of the European Commission.

　Ladies and gentlemen,

　It is fitting that, here, where experts from Taiwan and different countries have come together to address the issue of cultural industry, I shall start by stating what we, in the European Union, understand as cultural diversity. It is, first of all, the right for every citizen to live according to his or her roots and values and to express his or her creativity. The consequence of this for the European Union is not to try to harmonise cultural policies. For the EU this also means the rejection of any cultural dominance in a global world; a position that explains why we have constantly refused negotiations on cultural matters within the framework of the WTO. It is crucial for Europeans to remain able to carry out proactive policies of promotion of our cultural creativity.

　At the same time, sharing cultural traits and highlighting the common history of Europeans are necessary in order to further develop the integration of Europe. Preserving our diversity does not mean closing our doors, neither between the nations in Europe nor towards other parts of the world. We do not view cultural diversity simply as a jumble of differences, but as a duty to build networks bringing these differences together and as a real source of wealth for Europeans. September 11th is for us a clear signal that a reinforced dialogue between different cultures is of paramount importance to ensure sustainable development and peace in the world.

　The European cultural efforts follow three operational objectives:

　To support the circulation of European cultural projects within Europe and beyond.

　To reinforce cultural industries in Europe.

　To conserve in international trade negotiations our freedom to carry out proactive policies reflecting on the special nature of the cultural sector.

　While aiming to promote cultural diversity and build bridges, these objectives must also be seen from an economic point of view. Cultural industries are economic activities providing more than 7 million jobs in the EU and playing an important role in international trade: In 2000, the EU’s trade deficit with the United States on the television rights market was 4 billion US dollars and 8 billion for all audiovisual services. Reinforcing our industry and opening new markets to our cultural works is therefore of high significance for our economy.

　Which tools are used by the European Union to fulfil the first two operational objectives? On the one hand, the EU provides a legal framework facilitating the development of the industry, such as the “television without frontiers” directive of 1989 which ensures the free movement of audiovisual services within Europe and the promotion of European cultural works through quotas of national and European programmes to be broadcast on European TV channels. On the other hand, support is given to cultural actors and to the industry through EU programmes. For example, “Culture 2000” supports more than 200 projects every year, from small-scale exchanges involving theatre groups or musicians performing with partners from other European countries to the creation of long-term cultural networks.

　Considering the importance of the audiovisual sector as a cultural tool, of the key role of movies and television for the expression and transmission of cultural values, the European Union carries out a specific programme in that field. The MEDIA programme’s core objectives are to support the development, distribution and promotion of European audiovisual works inside Europe and on other continents. On the occasion of the renewal of MEDIA in 2000, the emphasis was put more on the support to the use of new technologies in that sector, recognising the deep changes that digital technologies have made here. In concrete terms, money is now available from the MEDIA programme for projects using digital technologies such as the digitalisation of works or on-line broadcasting.

　In 2002, more than 70 million Euro was given to the European movie industry within the framework of MEDIA, enabling 100 campaigns of promotion for films, the development of 245 movie projects, the distribution of 55 European films outside their country of origin and support to 130 European distribution companies.

　What are the results of the MEDIA programme and the support policies carried out by individual Member States of the EU? In recent years, we seem to observe a stabilisation of the market shares of European and US movies on European screens: a share of 20 to 30% of the box office goes to national and European works. Tickets sold for European films outside their country of origin are about 10% of total ticket sales. As for television, quotas of European programmes are fulfilled by a vast majority of broadcasters and audiences ask for national programmes in primetime rather than for US-made products.

　Clearly, a lot remains to be done to consolidate the audiovisual industry in Europe and to enable it to diffuse our cultural diversity. We in the EU are convinced that national and European initiatives such as MEDIA have played a positive role in the progress made by the sector and that support policies are useful in that field. Therefore, I would like to pay tribute to the initiatives taken by the government of Taiwan, such as the Domestic Film Guidance Fund, and the promotion of Taiwanese filmmakers at international film festivals. The success encountered recently by “Crouching Tiger, Hidden Dragon” by Ang Lee or by films of Hou Hsiao-Hsien should encourage Taiwan to pursue its efforts in following a durable, proactive policy of support to the creative industry and achieving more coproductions with neighbours.

　Even if the current MEDIA programme of the EU is currently not open to projects with non-European partners, the opportunity to foresee closer co-operation with non EU countries will be on the agenda of the preparation of the programme that will replace the current MEDIA programme in 2006.

　A message I would like to convey today is that public investment in the creative industry is an investment for the future. At a time when – at least in Europe - money for investment in the entertainment industry is getting scarcer, governments should give a helping hand, as it is money well spent: spent not only for the promotion of cultural diversity and the dialogue between cultures, but also money spent in a sector with an enormous growth potential as digitalisation will mean a lasting expansion of the availability of audiovisual content.

　This is the reason why, considering the challenges faced by the entertainment industry, especially in taking the digital train, the European Commission and the European Investment Bank launched an additional programme in 2001 called “i2i Audiovisual”. The idea is that, in an innovation-driven economy, the audiovisual sector presents an opportunity in terms of international competitiveness and employment. It is, therefore, important to help our industry to adapt to new technologies, notably by bringing more capital to European businesses in that sector with many SMEs and by fostering the development of cross-border ventures. From May 2001 to January 2003, almost 600 million Euro has been invested in that programme. For example, loans were given to the full modernisation - digitalisation - of Danish television and a cable network in Spain. Other projects include a loan to BBC World for the production of programmes and a series of global loans devoted to financing film production SMEs in several EU countries. “i2i Audiovisual” also involves acquiring stakes in expanding venture capital funds dedicated to the entertainment industry, thus facilitating the access to money for SMEs and possibly the emergence of cross-border projects in the creative industry.

　Ladies and gentlemen,

　The European Union has decided to promote its diversity and has adopted both the legal framework and support schemes to achieve this goal. Whether we succeed to do so on a long-term perspective will largely depend on the will of new generations on our continent to keep this diversity alive. It requires young people to have a critical approach to cultural content and not simply consuming “blockbusters”. A priority for European Culture and Education Commissioner Viviane Reding is, therefore, to encourage governments to enhance media literacy in school curricula. To draw attention, notably amongst young people, to the exceptional audiovisual heritage we have in Europe, Mrs Reding launched a European Cinema Week last year, Cinedays. During that week a special programme was organised in movie theatres in 200 cities throughout Europe, while more than 40 TV channels showed films – new ones or classics – from neighbour countries. During Cinedays week, 30,000 schools, linked via the Internet, had exchange projects devoted to the cinema and to media literacy.

　Ladies and gentlemen,

　Even if the EU’s budget earmarks a small budget for cultural policy when compared to agriculture, we consider the promotion of cultural diversity, in Europe and in our relations with other parts of the world, to be a priority for the European Union. It is, therefore, a genuine pleasure for me to have the opportunity of discussing these issues with you on the occasion of the conference organised by the EU Study Association of Taiwan. May I again thank the Association and express my gratitude to Luna Liu and Joanne Yeh for the perfect organisation.

　I thank you for your attention.

　中文：

　促進文化多元性：歐洲的挑戰，歐盟的政策

　By Mr. Christophe Forax

　歐盟執委會文化及教育事務執行委員Viviane Reding女士新聞發言人，負責教育、職訓、文化及文化視聽產業、青年、運動等項目事務。

　閣下、各位教授、女士與先生們：

　陳總統於2000年5月就職典禮演講時，曾呼籲台灣更加尊重多元文化。他聲明：「我們必須敞開心胸，多包容與尊重，如此我們的多元族群與各種不同地域文化才能彼此溝通，也因此台灣的地方文化才能與華語社會文化和其他世界文化相銜接，並在現代世紀創造文化台灣的新環境。」

　這種關懷與挑戰也適用於即將由25個或以上國家組成社區的歐洲聯盟。隨著聯盟擴及新國家，文化多元性將更加龐雜，也因此在打造歐洲過程中為了可永續發展以及為了克服全球化的黑暗面，必須將它當作一項工具，加以管理。

　因此，承蒙台灣行政院文化建設委員會以及台灣歐洲聯盟研究協會給予本人機會能在此討論歐盟的文化多元性之入門法及其促進。本人由衷的感謝陳部長與洪教授的邀請，並很高興接受擔任負責教育暨文化的歐洲委員Viviane Reding女士的發言人，Reding女士多年來，不論是在她擔任歐洲眾議員時以及目前歐洲委員會委員現職期間，一直都是台灣的朋友。

　各位女士與先生們：

　在此，來自台灣與各個不同國家的專家們為了文化事業議題齊聚一堂之際，本人首先應說明，我們都知道，歐盟的文化是多元的。首先，每一位公民都有權按照他或她的根源與價值觀去生活並表現他或她的創造力。對歐盟而言這樣的結果不是要嘗試使文化政策和諧一致具同質化。對歐盟而言，這也意味著我們拒絕在全球世界中進行任何形式的文化宰制；這正解釋了我們的立場，為何我們持續不斷的拒絕在WTO的架構內去進行文化事務上的妥協談判。對歐洲人而言，重要的是能夠實現促進我們文化創造力的預先積極政策。

　在此同時，為了更進一步推動歐洲的整合，必須分享文化特點並強調歐洲人的共同歷史。保存我們的多元性不意味著關閉我們的國與國之間或者朝向世界其他部分的大門。我們不單僅因文化的迥異，而是因建立網絡將這些不同點匯聚在一起的責任以及為了歐洲人財產的真正來源，而必須檢視文化的多元性。9月11日給了我們一個非常明顯的訊息，加強不同文化之間的對話，正是確保世界永續發展與和平的當務之急。

　歐洲文化的努力根據三項作業目標：

　支持歐洲文化計劃案在歐洲內外的流通。

　增強歐洲文化事業。

　在國際貿易談判中保存我們實現反映文化業界特質的預先積極政策的自由。

　針對促進文化的多元性與建立橋樑的同時，也必須從經濟觀點來看這些目標。文化事業是經濟活動，在歐盟裡提供超過7百萬個以上工作機會並在國際貿易當中扮演重要角色：在2000年，歐盟對美國電視權利市場的貿易赤字是40億美元而所有視聽服務則是80億美元。增強我們的工業並開放新市場給我們的文化作品，因而對我們的經濟而言具有深遠意義。

　歐盟用以執行前兩項作業目標的工具有哪些？一方面，歐盟提供促進事業發展的法律架構，諸如1989年的「無國界電視」的命令，確保視聽服務業在歐洲自由流通以及透過將在歐洲電視頻道播放的本國與歐洲節目配額促銷歐洲文化作品。另一方面，透過歐盟專案給予文化表演者以及事業的贊助。例如，「文化2000計畫」，從有關劇場團體或音樂家與來自其他歐洲國家合夥人同台演出的小型交流，到長期文化網路的建立，每年贊助超過200個計劃案。

　考慮到視聽產業作為文化的工具，表達與傳遞文化價值觀用的電影與電視關鍵角色的重要性，歐洲聯盟在此項目正執行一項特殊方案。MEDIA專案的核心目標是支持在歐洲內與在其他國家發展、經銷與促銷歐洲視聽作品。在2000年更新MEDIA時，更加強調支持該行業使用新科技，公認數位技術在此所造成的巨大變化。具體而言，現可從MEDIA專案中提撥資金供計劃案使用數位技術，諸如作品數位化或線上播放。

　2002年，在MEDIA的架構內給予歐洲電影事業超過7千萬歐元，得以在作品原產國以外地方，進行100個電影促銷廣告，發展245項電影計劃案，經銷55部歐洲電影，以及支持130家歐洲經銷公司。

　歐盟各會員國對於MEDIA專案與支持政策的執行結果如何？近幾年裡，我們似乎觀察到歐洲與美國電影在歐洲放映的市場佔有率趨穩定：本國與歐洲作品票房佔20至30%。歐洲影片在其原產國以外所銷售的票約佔總售票數的10%。至於電視方面，大多數的電視台都執行歐洲節目配額以及觀眾要求在黃金時段播映本國節目而非美國製產品。

　明顯的，多數留在歐洲製作以鞏固視聽事業並使它能夠散播我們的文化多元性。我們歐盟深信本國的與歐洲的主動精神，諸如MEDIA，業已在視聽業界的進展中扮演主動角色，而支持政策有助於該行業。因此，本人想稱讚台灣政府所採取的主動精神，諸如國內影片輔導資金，以及在國際電影節促銷台灣的電影製作人。最近李安的「臥虎藏龍」或侯孝賢影片的成功，必定鼓勵台灣竭盡所能的跟隨持續而積極的政策用以贊助創作事業並與鄰國達成更多合作監製。

　即使歐盟目前的MEDIA專案尚未開放給非歐洲合夥人的計劃案，但可以預見的是，與非歐盟國家更密切合作的機會將列入將取代目前MEDIA專案的2006年專案準備行事曆內。

　本人今天所要傳達的信息是，公共投資創作事業就是一項未來的投資。一旦－至少在歐洲－投資娛樂事業的資金不足時，政府就應該給予援手，因為資金使用適當：不僅是為促進文化多元性與文化之間的對話而花錢，而且也是花在具有高度成長潛力的事業，因為數位化將意味著視聽內容可供使用性的持續擴張。

　這是為何，考慮及娛樂事業面對挑戰，尤其是在說到數位訓練方面，歐盟執委會與歐洲投資銀行在2001年推出名為「i2i視聽」特別專案的理由。理想上，在革新式經濟方面，視聽業界呈現國際競爭與就業機會。因此，重要的是，將更多資金投入擁有許多中小企業（SMEs）的歐洲該行業以及鼓勵跨國合作事業的發展，明顯的幫助我們的事業適應新技術。從2001年5月到2003年1月，該專案業已投資將近600百萬歐元。譬如，貸款給丹麥電視台以及西班牙有線電視網全面現代化 – 數位化。其他計劃案包括貸款給BBC世界供其製作節目以及一系列全球性貸款，給予若干歐盟國家電影製作中小企業（SMEs）的融資貸款。「i2i視聽」也涉及購取股份，擴張娛樂事業專用的共同投資資金，因此幫助創作事業方面取得中小企業（SMEs）的資金並使跨國計劃案的可行性增加。

　各位女士與先生，

　歐洲聯盟已經決定促進其多元性並為了達此目標業已採用法律架構以及與支援制度雙管齊下。不論我們是否依長期願景繼續如此做，主要仍需視歐洲大陸的新世代是否願意傳承接續此多元性而定。它需要年輕人具備文化內涵的關鍵入門而非單只是製作消費性「投下鉅資的影片」。因此，對歐洲文化暨教育委員的Viviane Reding而言，首先是，鼓勵政府加強學校的媒體知識課程。為了引起，特別是在年輕人之間，注意到歐洲所擁有的獨特視聽方面的世襲財產，Reding女士特別於去年電影節推出歐洲電影週。在該週期間，於全歐200個城市的電影院放映特別節目，同時在40個電視頻道播放鄰國的 – 新的或經典 –影片。電影週期間，30,000所學校，透過網際網路連結，交換電影與媒體知識計劃案。

　各位女士與先生，

　即使歐盟的預算明白指定提撥與農業比較雖是一小筆預算給文化政策，但是，我們考慮到在歐洲以及我們與世界其他地方的關係，促進文化多元性，仍將是歐洲聯盟的當要之務。因此，本人對於能有機會在台灣歐盟研究協會所籌辦的會議場合上與各位討論這些議題，深感榮幸。請容本人再度感謝協會並表達對Luna Liu與Joanne Yeh的完美籌畫致謝。

　謝謝各位的聆聽。