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Ina-De Boeck, Paris-Bruxelles, City, Tecnologgica and Tecnologicx, 6 2, pp. Sundaram Ed. Cambridge, Cambridge University Press, United Nations, Conditions de soumission 1er Avril Argument Cultural industries have experienced important changes related to the development dqting L innovazione tecnologica flichy dating Internet and more broadly of information and communication technologies ICT Anderson,Benghozi,Recnologica et al. The evolutions in rlichy modes of creation, production and inovazione of local and international cultural content at the heart of these industries film, music, visual arts, performing arts, literature are partly rethought through the new possibilities offered by the ICT: These technologies have rapidly spread worldwide and with them the idea that ICT would be the vector datinv a linear and inevitable tednologica, tainted by a process of cultural homogenization for the benefit of the Anglo-Saxon countries.

This approach has been criticized and nuanced since the s through research emphasizing the diversity of national industrial structures and of choices made in terms of public policies Mattelart and SchmuclerDelapierre and Zimmermann, Moreover, studies on industrial configurations related to earlier technologies — the recorded music in Jamaica Power and Hallencreutz, or in India Manuel,Parthasarathi,the broadcasting in Brazil Rivron, — have highlighted the fact that the modalities of appropriation DeCerteau,Appadurai, of technologies linked to the development of the Internet vary considerably from one country to another. However, the study of the diversity of digital transition policies and socio-technical configurations Flichy, that contributed to the recent changes in cultural industries of the Global South remains relatively marginal and deserves to be better highlighted.

In the continuity of these reflections, it appears that the new technologies in the Global South have led to cultural and creative industries anchored in arrangements of actors, services and uses that differ significantly from what the discourse of central market institutions or the international media on innovation can reveal Harker, Hence, on the one hand, we observe a consolidation of representations of cultural markets in the Global South still tainted by inefficiency due to piracy Liang,Mattelart,clientelism or corruption systems Lobato,Forest,weak enforcement of artists' economic rights and the domination of the informal economy, while on the other hand, these spaces are becoming increasingly attractive for the creative industries due to successive rounds of economic liberalization, their large consumer population, the internet as a distribution network for cultural goods, or the cost and flexibility of labor along with a growing number of creators of cultural content.

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Hence, new dynamics are particularly interesting to explore, among which: This special issue seeks to gather contributions to better understand the articulation flicy developments in the digital environment and local reconfigurations of cultural industries in the Global South. The issue will focus on emerging innovazionr innovative forms twcnologica organization, even if they may be marginal, which allow us to consider the South as a territory to explore the relationship between digital and cultural industries, to rethink them in their autonomy, and by reflection effect, to reconsider the changes taking place in the North. While there is not one but many definitions of the cultural industries, we propose an approach that includes the most commonly recognized sectors or those belonging to the "core cultural industries" Throsby,Unesco Accordingly, this issue will draw attention to three interrelated themes: Is there a circulation of digital cultural policies models between Global South countries?

What are the different regulatory processes Copyrights, royalties etc.

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