And this fear that US models are replacing everything else now spills over from the sphere of culture into our two remaining categories: for this process is clearly, at one level, the result of economic domination – of local cultural industries closed down by American rivals.

If it is, in reality, capitalism that is the motor force behind the destructive forms of globalization, then it must be in their capacity to neutralize or transform this particular mode of exploitation that one can best test these various forms of resistance to the West.

A further point is that, little by little, in the current universe, everything is slowly being named; nor does this have anything to do with the older Aristotelian universals in which the idea of a chair subsumes all its individual manifestations.

The more worrying feature of the new global corporate structures is their capacity to devastate national labour markets by transferring their operations to cheaper locations overseas.

The standardization of world culture, with local popular or traditional forms driven out or dumbed down to make way for American television, American music, food, clothes and films, has been seen by many as the very heart of globalization.

Often, these downplay the power of cultural imperialism – in that sense, playing the game of US interests – by reassuring us that the global success of American mass culture is not as bad as all that.

For when we talk about the spreading power and influence of globalization, aren’t we really referring to the spreading economic and military might of the US?

So is it always nationalist to resist US globalization? The US thinks it is, and wants you to agree; and, moreover, to consider US interests as being universal ones.

And this fear that US models are replacing everything else now spills over from the sphere of culture into our two remaining categories: for this process is clearly, at one level, the result of economic domination – of local cultural industries closed down by American rivals.

The United States has made a massive effort since the end of the Second World War to secure the dominance of its films in foreign markets – an achievement generally pushed home politically, by writing clauses into various treaties and aid packages.

In most of the European countries – France stands out in its resistance to this particular form of American cultural imperialism – the national film industries were forced onto the defensive after the war by such binding agreements.