摘要
欧洲一体化进程始于第二次世界大战之后，虽然文化政策一直不是一体化的核心内容，但文化因素却在一体化推进过程中扮演着重要的作用。以成员国共同签订的“条约”为基础，欧盟在文化领域的行动要严格遵守“辅助性原则”，这就决定了欧盟内部在文化政策的执行上存在四个层面的主体：欧盟层面、成员国层面、地区层面和地方层面。本文重点研究的是欧盟层面的行动，探讨欧盟如何协调各成员国政策，为联盟内各国文化交流，文化领域从业者的流动，以及文化产业的发展创造宽松、规范的大环境。
作为一个由27个主权国家组成的国家联合体，欧盟的文化管理体制与传统的民族国家存在着很大的差异。《马约》为欧盟在文化领域的行动提供了法律基础，但同时也突出强调了“辅助性原则”的重要性。因此，欧盟文化事务是政府间性质的，代表成员国的理事会依然在决策中起着决定性的作用，超国家性质的欧委会拥有文化法规的动议权，负责文化项目的日常运作和管理。但同时，通过重点领域参与立法、各类文化项目，以及开放式协调等新管理机制的运作，欧盟机构和成员国在文化领域的沟通及合作更加顺畅。而经过历次欧盟条约的修改后，欧洲议会在文化领域权力也大为增强，这也进一步提高了欧盟文化行动的民主正当性和合法性。
欧盟对文化领域的介入始于1960年代，从1970年代开始，在欧洲议会和欧委会的推动下，欧盟在文化领域的动议和行动开始逐渐增多，成员国政府对文化领域联合行动重要性的认识开始增强。而这一时期联盟层面文化行动中欧洲认同的因素也开始初步显现。1993年生效的《马约》将文化正式提上联盟的议事日程。在尊重辅助性原则的前提下，欧盟各机构与成员国一起，不断对联盟层面的文化政策和文化体制进行探索。逐渐树立了在文化领域“多样性中的同一性”的理念，即在坚持欧盟文化多样性的同时，强调共同的欧洲文化渊源，共同的历史。在初步形成了文化领域的一套政策体系的同时，将文化因素逐渐融入到联盟层面各领域的制度设计中。
欧盟文化政策的实施有两个重要的考虑，一是推进欧洲认同，《马约》确定的文化目标是：共同体应该为成员国文化的繁荣作出努力，在尊重各国和地区文化多样性的同时，弘扬共同文化遗产。二是促进文化产业的发展。为了实现这两个目标，欧盟从法律环境、资金支持、社会环境、文化活动四个大方面入手，统一成员国间的产业规则，消除成员国间文化产品和文化领域从业人员交流的障碍，因为这种交流有利于人民对彼此文化的了解，对欧洲共同历史文化的认知，同时文化交流也是创造性的源泉。在追求这两个主要目标的同时，欧盟也希望通过这种方式使其理念能够最大程度地在成员国层面得以实现。
本文从两个方面来具体分析欧盟文化政策是如何实施及其实现的效果。首先，视听产品作为文化属性和经济属性的完美结合，出于文化安全和经济利益等考虑，视听产业一直是欧盟重点扶持的一个产业部门。因此，《电视无疆界指令》及“媒体计划”的执行结果及其引起的联盟、国家和地区层面的互动也正是欧盟推动文化产业发展成果的一个缩影。其次，文化产业的企业多是中小企业，本文以对中小企业融资支持为切入点，来探讨欧盟是如何将对文化领域中小企业的支持融入文化项目、媒体计划、结构基金等联盟层面行动的，又是如何与成员国及地区层面进行互动在单一大市场的框架下为联盟内各领域中小企业提供融资支持的。
在对外政策方面，欧盟认识到，欧洲未来在世界上所扮演的角色将取决于其一体化的发展程度，取决于其发展模式的吸引力，而多样性的文化是欧盟模式的重要组成部分，因此外交政策不可避免应具有文化的维度。1993年生效的《马约》和1997年签订的《阿约》为欧盟对外政策中融入文化因素提供了法律基础。欧盟对外文化政策的实施主要有几个层面，主要包括欧盟扩大政策层面、睦邻政策层面、发展合作政策层面以及贸易政策层面。本文重点研究了两个案例，一是欧盟针对地中海国家实行的欧地遗产项目；二是关贸总协定乌拉圭回合谈判中，欧盟与美国就视听产品贸易的问题上的斗争。通过这两个案例来细致地解读欧盟对外文化政策是如何实施的，以及政策实施的结果和影响。
虽然文化一直不是欧洲一体化的核心领域，但文化因素却在欧洲一体化的过程中扮演这重要的作用。对于欧盟来说，参与文化政策的制定和实施，促进跨文化交流及文化产业的发展，一方面是欧洲一体化发展到现阶段自然的结果，另一方面也是一体化继续深化的必然选择。对于成员国来说，将文化领域的部分主权向欧盟层面的让渡归根结底是由其国家利益决定的。而对于欧洲一体化化来说，文化因素的融入，对内是增强欧洲文化认同的客观要求，对外有利于提高文化产业的竞争力及欧盟的国际影响力。本文从文化认同、国家利益和软实力三个方面对欧洲文化政策是如何产生和发展的进行理论解读。
中国和欧洲的文化交流源远流长，尽管双方在文化管理体制、文化政策偏重、文化产业结构及产业发展程度等方面存在着巨大的差异，但作为世界主要的经济、政治、文化实体，双方在推动文化产业发展，维护和促进文化多样性等方面承担了共同的责任，也面临着类似的挑战。这为中欧文化合作创造了良好的环境和坚实的基础。研究欧盟文化政策的最主要目的还是为了中国政策服务，经过前面章节的论述，本文最后总结得出，与欧盟相比，中国在文化管理和文化产业的发展上还存在着不小的差距，中国要从七个方面努力，深化文化体制改革，转变政府职能，发挥文化领域行为体的主动性，促进社会主义文化的大发展、大繁荣，从而使文化成为中国经济发展和国际影响力提高的助力因素。
Over the past60years, the EU, as a unique economic and political partnershipbetween27European countries, has made itself to be an important actor on the worldstage. Even before Europe was united in an economic level or was conceived at thelevel of economic interests and trade, it was culture that united all the countries ofEurope. Based on a a series of ‘Treaties’, the EU has to act in accordance with thesubsidiarity principle, which means that the Community only takes action “if and inso far as the objectives of the proposed action cannot be sufficiently achieved by theMember States”. So the European governance model for culture encompasses fourlevels: European, national, regional and local. This paper focuses on the governanceand policy at EU level.
The cultural governance of EU is different from the sovereign states. Theculture issue in EU is intergovernmental in nature. The Commission and the EuropeanCouncil are generally regarded as the main agenda-setters at the European level,representing the interests of the Community and the Member States respectively.Under the EC Treaty, the Commission is the guardian of the treaties and the onlyinstitution with the power to make legislative proposals, while the European Councilhas a much more important role to play in policy areas of culture. But otherinstitutions can be seen to have important agenda-setting powers as well. BothCouncil and EP may formally request that the Commission takes action on certainissues. The Member States play a much bigger role in the 'policy coordination' mode,more commonly referred to as the 'Open Method of Coordination'(OMC).
From1960s to1970s, although the EU had no legal basis for direct involvementin cultural affairs, both the European Parliament and Commission had alreadyestablished several specialized committees related to culture. This situation changedwith the1992Maastricht Treaty. Among its innovations, the Treaty created the EUand by placing culture de jure as a treaty matter, it also legitimized the EU's earliercultural activities and interests. Despite most Member States' initial hesitance toundertake any action in the field, culture has over time grown beyond the status ofmarginal policy area. In this process, the EU has adopted the slogan "unity indiversity" as its central policy motif. In practice, EU shall contribute to the floweringof the cultures of the Member States while respecting their national and regionaldiversity and at the same time bringing the common cultural heritage to the fore.
For EU, the cultural policy can meet two objectives, one is cultivating Europe'scultural identity, and the other is promoting the development of cultural industries. Allpolitical systems seek legitimacy in the cultural field, and EU is no exception. In morerecent times, the contribution of cultural actions to the emergence of Europeancitizenship has emerged as a more dominant theme. At the same time, EU tries tomake a friendly environment for the healthy development of cultural industries by law,cultural programmes, freely social environment and a variety of cultural activities, soas to promote the free movement of cultural products and cultural professionals.
As to the process and results of EU actions in cultural areas, this paper givestwo examples. First, in the audiovisual sector, the TWF Directive and MEDIAprogramme, in place since1989and1991respectively, promotes the competitivenessof the European audiovisual industry. It is a miniature of overall cultural policy.Second, the majority of CCI companies are SMEs, The Commission aims to promotesuccessful entrepreneurship and improve the business environment for SMEs, toallow them to realise their full potential in today's global economy. Here, access tofinance as a main point to show what the EU do in this area.
Europe’s cultural richness and diversity is closely linked to its role andinfluence in the world. The EU is not just an economic process or a trading power, itis already widely and accurately perceived as an unprecedented and successful socialand cultural project. Culture is an indispensable feature to achieve the EU's strategicobjectives of prosperity, solidarity and security, while ensuring a stronger presence onthe international scene. At the same time, the EU has the obligation to take culturalaspects into account in all its policies in order to respect and promote the diversity ofits cultures. This is also true in the case of the EU relations with third countries andregions: the EU enlargement partners, the European Neighbourhood Policy countries,countries with which the EU has successfully concluded trade agreements,industrialised, emerging and developing countries. In this part, the author give twoexamples, one is the dispute between US and Europe over audio-visual servicesduring the Uruguay Round negotiations, the other is EU’s cooperation with the thirdcountries on cultural issues, Euromed Heritage.
Although culture is not the core area of European integration, it is always anunderlying element of this process. The cultural policy of EU level is an inevitableoutcome of European integration on one hand; on the other hand, it is a necessary choice of further integration. In this part, the author tries to analyze why do EU andmember states make these choices by three theory, that is cultural identity, nationalinterest and soft power.
Althrough the real EU-China cultural relations started as early as in2003with aDeclaration on cultural cooperation between the European Commission and theChinese Ministry of Culture, the bilateral cultural exchange has a long history.Theprinciples of the2005UNESCO Convention on the protection and promotion of thediversity of cultural expressions, ratified by both parties, lay the common ground forcooperation. Other cooperations are in the forms of EU Culture Programme,EU-China Year of Intercultural Dialogue, and EU-China Trade Project II etc. Anumber of activities have been supported thus far facilitating exchanges of goodpractices and peer-learning between EU and Chinese policy makers in the form ofworkshops, study visits, and roundtable discussions. Based on the former analysis, theauthor finally give some advises on what can we learn from EU’s experiences andhow to develop the friendly environment for cultral development in china.
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31. Conclusions of the Council and of the Ministers responsible for CulturalAffairs, meeting within the Council, of27May1988concerning future priorityactions in the cultural field. OJ C197/2-3,27/07/1988.
32. Resolution of the Council and the Ministers responsible for Cultural Affairs,meeting within the Council, of18May1989concerning the promotion of books andreading. OJ C183/1-2,20/07/1989.
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