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context, goals and tasks of cultural development
In the present day world, cultural professionals and cultural institutions follow the pat 
terns of development of political democracy and market economy, focusing on principles
of the freedom of expression, diversity and pluralism, equal possibilities, decentraliza 
tion and openness towards the general public. 
Context of Cultural Development
Cultural development, on the other hand,  follows its own autonomous objectives, the
most important of which include the following: creative freedom, productive contribu 
tion to the political and economic development of the country, and shaping the identity
of the local, namely, national environment within the context of globalization. The inter 
woven character of these general and particular orientations results in quite a broad range
of cultural development strategies on the national level. At its one end is the United Sta 
tes of America with its large export of cultural industry products, mainly popular mass
media culture as well as its completely liberal ( facilitating ) relationship towards cultu 
re, so that a public and binding definition of cultural goods or high quality cultural prod 
ucts does not exist. The remaining Anglo Saxon countries, as well as other countries in
which leading world languages are spoken (French, Spanish, German), are also drawing
ever closer to the American model, primarily by using their linguistic advantage and then
their industrial and technological level of development in the global circulation of cul 
tural products. Nevertheless, they devote more attention in internal cultural policies to
the selective protection of national cultural goods from the influence of the free market.
At the other end of the range are the countries, the great majority in the world, with rel 
atively small domestic cultural product markets, whose cultures and languages have been
and remain the pillars of national identity. These countries strictly separate public cul 
tural values from market values and place the former under their protection ( state archi 
tect ). Their relationship towards globalization is marked by the fear of losing their iden 
tity, as well as being deprived of the economic (tax) basis for the continued financing of
cultural  and  other  public  goods.  Croatia,  together  with  the  other  Central  and  Eastern
European  transitional  countries,  is  much  closer  to  the  latter  than  the  former  group  of
countries. In fact, it is seeking, primarily in cultural tourism, and partly in networking,
co production and joint cultural projects with other countries, the possibility of incorpo 
rating its culture in the export sector and global circulation.


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