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.

It is now easier to imagine the end of the world than to imagine the end of capitalism.

If everything were transparent, there would be no ideologies.

The visual is essentially pornographic, which is to say that it has its end in rapt, mindless fascination.

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.

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 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 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.

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.