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Co-authored with Joses Wong, Secretary-General of ASEANCHAM EU After 45 years of diplomatic dialogue, EU-ASEAN relations continue to dawdle, lacking real ambition or political will from either side to invest more in the relationship. Even after a recent upgrade in the relationship to a strategic partnership (and continued pressure from the business communities on both sides to do more),the potentialof the EU-ASEAN relationship is still not well understood by...

There is a widespread belief that the higher the level of subsidies, the better the performance of film industries (both in quantity and quality). This article focuses on film quality—evaluated by audiences and critics—and scrutinizes this assumption through four selected countries—France, Korea, UK, and US. The main findings of this article are summarized through two points. First, despite the Korean film industry receiving the lowest level of public...

Hollywood studios have actively sought to export more films to China in order to benefit from its huge film market. Facing this expansion, the Chinese government has introduced quotas in order to restrict the market access of foreign films while protecting its domestic film industry and preserving Chinese values. Nonetheless, this protectionism has brought about an unexpected effect; a limited number of Hollywood films in China have been able to attract large...

When the Netflix series Emily in Paris was released in October 2020, it was widely watched among audiences around the world. In its first week, it was listed as one of the top ten most watched shows, and almost 58 million people globally streamed this series in the first month after its release (Netflix, 2021). The story features a girl who moves from Chicago to Paris for work, and provides an American’s point of view on French lifestyle and includes many...