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This book is the product of a collective effort by some members of the Group of 78. The name of the group derives from the number of its founding members. Its activities comprise studies of and analysis of public issues which seem at the time to be of crucial importance not only to Canadians but to all the inhabitants of the planet. The issues are discussed at annual conferences and some of the discussions have been edited and published. The present effort was stimulated by the rapid changes in the political landscape of Eastern Europe and the consequent demise of the Cold War. It seemed at the time that those changes were about to usher in a new historical era, rich in unprecedented opportunities of improving human life, in particular of freeing humanity from the threats generated by the burgeoning arsenals of weapons of total destruction and by the degradation of the environment. It seemed that global collective effort directed at solving urgent global problems became suddenly possible. One could speak hopefully of an "agenda" for such collective effort. The following members of the Group of 78 and friends sympathetic to its aims contributed to this work by submitting copy, directing us to sources, making cogent suggestions for substantive revisions or stylistic improvements: Newton R. Bowles Soonoo Engineer Shirley Farlinger Ann Gertler Leonard Johnson Peter Meincke Gwen Rapoport Ronald Shirtliff Anne Williams Pat Woodcock
"An excellent and often impressive book that advances our understanding of the internationalization of production and the ways in which it is actually implemented in specific sites." --Saskia Sassen, Department of Urban Planning, Columbia University This collection of original essays examines the social and political consequences of the globalization of the apparel industry in Asia, Mexico, Central America, the Caribbean, and the United States. The contributors analyze the countries' trade policies, the apparel industry's network of capital ad labor, working conditions in garment factories, and the role of workers, especially women. Written by scholars of various nationalities and from different disciplines, this volume provides a look at the industry from the perspective of participants within each country and illustrates a general trend toward the internationalization of production and global economic restructuring. "[C]ontains an impressive array of good case studies on a variety of regions and countries, with special focus on how the United States apparel industry relates to globalization in each case." --Journal of American Ethnic History
How the importation of global television in the United States affects the nature of programming.
In this study, Baltruschat calls attention to dramatic changes in worldwide media production. Her work provides new insights into industry re-organization, digital media, and audience interactivity as pivotal relationships are redrawn along the entire value chain of production, distribution, and consumption. Based on an international study, she details how cultural agents now negotiate a media landscape through collaborative ventures, co-productions and format franchising. These varied collaborations define the new global media economy and affect a shift across the entire field of cultural production. Through detailing the intricacies of globally networked production ecologies, Baltruschat elucidates the shifting power relations in media production, especially in regards to creative labor and trade of intellectual properties. In the new global economy, "content" has become the "new currency." As a result, relational dynamics between cultural agents emerge as key forces in shaping worldwide cultural production, now increasingly characterized by flexible production and consumption. The blurring of lines in international media developments require new parameters, which define creativity and intellectual property in relation to interactive audiences and collaboratively produced content. Baltruschat clearly maps and defines these new dynamics and provides solutions as to how creative labor constellations can advance and enrich the new media economy. This is especially pertinent as global film and TV production does not necessarily result in greater media diversity. On the contrary, interdependencies in policy regimes, prioritization of certain genres, and branded entertainment epitomize how current networked ecologies reflect broader trends in cultural and economic globalization.
A critical cultural materialist introduction to the study of global entertainment media. In Global Entertainment Media, Tanner Mirrlees undertakes an analysis of the ownership, production, distribution, marketing, exhibition and consumption of global films and television shows, with an eye to political economy and cultural studies. Among other topics, Mirrlees examines: Paradigms of global entertainment media such as cultural imperialism and cultural globalization. The business of entertainment media: the structure of capitalist culture/creative industries (financers, producers, distributors and exhibitors) and trends in the global political economy of entertainment media. The "governance" of global entertainment media: state and inter-state media and cultural policies and regulations that govern the production, distribution and exhibition of entertainment media and enable or impede its cross-border flow. The new international division of cultural labor (NICL): the cross-border production of entertainment by cultural workers in asymmetrically interdependent media capitals, and economic and cultural concerns surrounding runaway productions and co-productions. The economic motivations and textual design features of globally popular entertainment forms such as blockbuster event films, TV formats, glocalized lifestyle brands and synergistic media. The cross-cultural reception and effects of TV shows and films. The World Wide Web, digitization and convergence culture.
Drawing on the work of international contributors Media Organization and Production examines a wide range of global-local media organizations and the production of different mediums and genres. Following the editor′s introduction which sets out the principal differences of approach and defining debates, chapters address: transnational and national, commercial and public service corporations; international film and TV co-productions; children′s television news production, the historical development of ′liveness′ on radio, and music journalism; the politics and organizational forms of alternative media production including radical newspapers, video and the internet; and the changing ′production ecology′ of natural history television. These topics are examined through a variety of theoretical and conceptual frameworks that help to illuminate how cultural production often involves a complex articulation of differing influences and constraints, both material and discursive, intended and unintended, structurally determined and culturally mediated.Together the chapters in this book help to recover this complexity and thereby help us to better understand the nature and output of today′s media.
Culture no longer has borders. With the advent of internet sites like Sothebys.com and the increasing reality of globalization, culture itself has gone global. This collection focuses on questions involving national identity, indigenous culture, economic growth, free trade, cultural policy, and global tourism. Global Culture looks at all aspects of the arts including: film, art, music, theater, television, and museums. Global Culture fleshes out how current cultural policies are working and forecasts what we can expect the future landscape of global culture to look like.
First published in 1987, Arms Canada paints a disturbing picture of the Canadian arms industry, an industry whose sales then totalled $3 billion annually.
In the coming decades, East Asian economies must face the challenges of an increasingly globalized marketplace. This book explores the changing parameters of competition in East Asia, and argues that success ultimately will depend on the ability of the region's firms to harness the potential of global production networks and to build their own innovative capability. Presenting the latest findings on global production networks and the evolution of technological capabilities, it provides researchers, students, and policymakers with in-depth information and analysis on key issues related to growth and development in East Asia. East Asian firms must not only achieve greater efficiency but also become more innovative, offering differentiated products in order to vie with other first-tier suppliers of multinational corporations. These firms will also need to develop a technological edge if they are to compete with corporations from the leading OECD countries and form their own global production networks. 'Global Production Networking and Technological Change in East Asia' argues that a development strategy linked to technological advance will be necessary to foster the growth of innovative national firms that can remain competitive in global markets.