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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
This study highlights dramatic changes in worldwide media production, detailing how collaborations—in the form of co-productions, format franchising and audience interactivity—define the new media economy, and affect a shift across the entire field of cultural production. These developments also reflect broader trends in cultural and economic globalization.
Northeast Asian steel industries have developed global production networks, but by spanning multiple national spaces, these networks unite many national economies while belonging exclusively to none. Who, therefore, is in control? Jeffrey D. Wilson examines how states and firms coordinate their activities to govern global production.
"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
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.
This edition of "The Canadian Encyclopedia is the largest, most comprehensive book ever published in Canada for the general reader. It is COMPLETE: every aspect of Canada, from its rock formations to its rock bands, is represented here. It is UNABRIDGED: all of the information in the four red volumes of the famous 1988 edition is contained here in this single volume. It has been EXPANDED: since 1988 teams of researchers have been diligently fleshing out old entries and recording new ones; as a result, the text from 1988 has grown by 50% to over 4,000,000 words. It has been UPDATED: the researchers and contributors worked hard to make the information as current as possible. Other words apply to this extraordinary work of scholarship: AUTHORITATIVE, RELIABLE and READABLE. Every entry is compiled by an expert. Equally important, every entry is written for a Canadian reader, from the Canadian point of view. The finished work - many years in the making, and the equivalent of forty average-sized books - is an extraordinary storehouse of information about our country. This book deserves pride of place on the bookshelf in every Canadian Home. It is no accident that the cover of this book is based on the Canadian flag. For the proud truth is that this volume represents a great national achievement. From its formal inception in 1979, this encyclopedia has always represented a vote of faith in Canada; in Canada as a separate place whose natural worlds and whose peoples and their achievements deserve to be recorded and celebrated. At the start of a new century and a new millennium, in an increasingly borderless corporate world that seems ever more hostile to nationaldistinctions and aspirations, this "Canadian Encyclopedia is offered in a spirit of defiance and of faith in our future. The statistics behind this volume are staggering. The opening sixty pages list the 250 Consultants, the roughly 4,000 Contributors (all experts in the field they describe) and the scores of researchers, editors, typesetters, proofreaders and others who contributed their skills to this massive project. The 2,640 pages incorporate over 10,000 articles and over 4,000,000 words, making it the largest - some might say the greatest - Canadian book ever published. There are, of course, many special features. These include a map of Canada, a special page comparing the key statistics of the 23 major Canadian cities, maps of our cities, a variety of tables and photographs, and finely detailed illustrations of our wildlife, not to mention the colourful, informative endpapers. But above all the book is "encyclopedic" - which the "Canadian Oxford Dictionary describes as "embracing all branches of learning." This means that (with rare exceptions) there is satisfaction for the reader who seeks information on any Canadian subject. From the first entry "A mari usque ad mare - "from sea to sea" (which is Canada's motto, and a good description of this volume's range) to the "Zouaves (who mustered in Quebec to fight for the beleaguered Papacy) there is the required summary of information, clearly and accurately presented. For the browser the constant variety of entries and the lure of regular cross-references will provide hours of fasination. The word "encyclopedia" derives from Greek expressions alluding to a grand "circle of knowledge." Our knowledge has expandedimmeasurably since the time that one mnd could encompass all that was known.Yet now Canada's finest scientists, academics and specialists have distilled their knowledge of our country between the covers of one volume. The result is a book for every Canadian who values learning, and values Canada.
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.
The face of U.S. television broadcasting is changing in ways that are both profound and subtle. Global Television uncovers the particular processes by which the international circulation of culture takes place, while addressing larger cultural issues such as identity formation. Focusing on how the process of internationally made programming such as Highlander: The Series and The Odyssey—amusingly dubbed “Europudding” and “commercial white bread”—are changing television into a transnational commodity, Barbara Selznick considers how this mode of production—as a means by which transnational television is created—has both economic rewards and cultural benefits as well as drawbacks. Global Television explores the ways these international co-productions create a “global” culture as well as help form a national identity. From British “brand” programming (e.g, Cracker) that airs on A&E in the U.S. to children’s television programs such as Plaza Sesamo, and documentaries, Selznick indicates that while the style, narrative, themes and ideologies may be interesting, corporate capitalism ultimately affects and impacts these programs in significant ways.
First published in 1987, Arms Canada paints a disturbing picture of the Canadian arms industry, an industry whose sales then totalled $3 billion annually.
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.