Yep, and guess what else is a big deal: Mutual recognition agreements that prevent #TBTs. Learn more about #MRAs👀… https://t.co/L5J9u6SnbqRT Mavenir @Mavenir: Mavenir’s John Baker on a @Euractiv 'The Tech Brief' podcast joined by @ECIPE's Hosuk Lee-Makiyama to discuss how o… https://t.co/YbBMfrjfPe💭The question of whether users and senders should contribute network fees is secondary. Instead, we should be askin… https://t.co/EsGnKEcwnD❗️Event update We moved our seminar on the #Korean film online. 📺Now you can follow the discussion on the lesson… https://t.co/zlEXFLIzmd🎧 Tune in to the conversation with @Phil_Lamprecht and @miotei @rielcano on what the future role and direction of t… https://t.co/Hm0rWYtt5g

Jimmyn Parc

Email: jimmynparc@gmail.com

Jimmyn  Parc

Jimmyn Parc is an associate professor at the University of Malaya, Malaysia. Prior to joining the University of Malaya, he was a visiting lecturer at Sciences Po Paris, France and a researcher at the Institute of Communication Research, Seoul National University. He received a Ph.D. in international studies (with focus on international business and strategy) from the Graduate School of International Studies (GSIS), Seoul National University, Korea and another in economic history from the University of Paris-Sorbonne (Paris IV), France. He has published numerous academic articles and conducted several research projects related to the competitiveness of organizations, industries, and countries. His current research focuses on cultural industries in Asia and Europe, which includes films and music; currently they are at critical juncture in the midst of a changing business and trade environment as well as new challenges in the form of digitization. Professor Parc is also the co-author of The Untold Story of the Korean Film Industry: A Global Business and Economic Perspective, which was published by Palgrave Macmillan in 2021.

  • Korea Project

    The Impact of Subsidies on Film Quality: Empirical Evidence from France, Korea, the United Kingdom, and United States

    By: Jimmyn Parc Patrick Messerlin Guest Author 

    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...

  • Korea Project

    Sur le succès du cinéma coréen

    By: Patrick Messerlin Jimmyn Parc 

    Depuis quelques années, films et séries télévisées coréens connaissent des succès mondiaux, comme en témoignent Parasite (2019), Squid Game (2021) et Decision to Leave (2022) ainsi que la reconnaissance dont jouissent, par exemple, les acteurs Youn Yuh- Jung et Song Kang-Ho. Ces succès sont souvent perçus comme des cas exceptionnels reflétant les qualités individuelles des réalisateurs et des acteurs. Ils sont rarement com- pris pour ce qu’ils sont...

  • Korea Project

    Screen monopoly and diversity: a comparative study between the Korean and French film industries

    By: Jimmyn Parc Patrick Messerlin 

    In recent years, there have been many voices in Korea arguing that a few commercially successful films take up the opportunities for the exhibition of other films and thus limit the selection of titles available for moviegoers, a trend dubbed the “screen monopoly”. In seeking a solution, a number of scholars have looked to the anti-screen monopoly “regulations” in France, but without providing rigorous or persuasive evidence. By comparing the appropriate...

  • Korea Project

    The impact of protectionism on cultural industries: the effect of China’s film policies on imported films

    By: Patrick Messerlin Jimmyn Parc Guest Author 

    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...

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