If everything were transparent, there would be no ideologies.

In most of the European countries - France stands out in its resistance to this particular form of American cultural imperialism - the national film industries were forced onto the defensive after the war by such binding agreements.

For when we talk about the spreading power and influence of globalization, arent we really referring to the spreading economic and military might of the US?

The more worrying feature of the new global corporate structures is their capacity to devastate national labour markets by transferring their operations to cheaper locations overseas.

A further point is that, little by little, in the current universe, everything is slowly being named; nor does this have anything to do with the older Aristotelian universals in which the idea of a chair subsumes all its individual manifestations.

Utopia would seem to offer the spectacle of one of those rare phenomena whose concept is indistinguishable from its reality, whose ontology coincides with its representation.

The United States has made a massive effort since the end of the Second World War to secure the dominance of its films in foreign markets - an achievement generally pushed home politically, by writing clauses into various treaties and aid packages.