If it is, in reality, capitalism that is the motor force behind the destructive forms of globalization, then it must be in their capacity to neutralize or transform this particular mode of exploitation that one can best test these various forms of resistance to the West.

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.

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.

In a world in which stylistic innovation is no longer possible, all that is left is to imitate dead styles... Contemporary or postmodernist art... will involve the necessary failure of art and the aesthetic, the failure of the new, the imprisonment in the past.

Often, these downplay the power of cultural imperialism - in that sense, playing the game of US interests - by reassuring us that the global success of American mass culture is not as bad as all that.

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.

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.