Traduction de «opérateur culturel » (Français → Anglais) :

Z. whereas a majority of cultural operators questioned hold the view that, with due regard for the subsidiarity principle, enhanced EU involvement, albeit by stronger financial support, legal measures or additional resources, is likely to benefit the cultural industrial structures; whereas these operators also pinpoint a lack of investment, market fragmentation, a threat to commercial viability, and problems in connection with distribution and promotion as major problem areas; whereas care should be taken to ensure that these measures do not jeopardise the competitiveness of European cultural and creative industries in a context of gl ...[+++]obalisation,

Z. whereas a majority of cultural operators questioned hold the view that, with due regard for the subsidiarity principle, enhanced EU involvement, albeit by stronger financial support, legal measures or additional resources, is likely to benefit the cultural industrial structures; whereas these operators also pinpoint a lack of investment, market fragmentation, a threat to commercial viability, and problems in connection with distribution and promotion as major problem areas; whereas care should be taken to ensure that these measures do not jeopardise the competitiveness of European cultural and creative industries in a context of gl ...[+++]obalisation,

Z. whereas a majority of cultural operators questioned hold the view that, with due regard for the subsidiarity principle, enhanced EU involvement, albeit by stronger financial support, legal measures or additional resources, is likely to benefit the cultural industrial structures; whereas these operators also pinpoint a lack of investment, market fragmentation, a threat to commercial viability, and problems in connection with distribution and promotion as major problem areas; whereas care should be taken to ensure that these measures do not jeopardise the competitiveness of European cultural and creative industries in a context of glo ...[+++]balisation,

I always ask cultural operators from the existing Member States to extend the hand of friendship and cooperation to potential partners in accession countries, so they can experience for themselves what the Europe of cultural cooperation is all about.

The requirement introduced in 2001 of 5 % financial participation by all co-organisers was a good instrument to ensure the active participation of all cultural operators in the projects, although it may have discouraged the creation of partnerships with no prior history of cooperation and deterred some cultural operators in the associated countries from participating in the programme.

These are, of course, the budgetary question, the question of a supposedly excessive fragmentation or disintegration of the Union’s actions, which is considered likely to reduce its visibility and, as a result, the question of an option in the sense of there being privileged lines which would support initiatives of a greater scale and of a more spectacular kind. The participation of agents and operators had been foreseen for this, which would involve a greater number of countries as a minimum which, as we see it, would carry a serious risk of hypertrophy in some networks of cultural operators. This would give them an excessive concentrat ...[+++]ion of means and powers and, as a result, threaten the normal functioning and even the very existence of many others.