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Patrick Messerlin

Email: patrick.messerlin@gmail.com


Patrick Messerlin

Patrick Messerlin is Chairman of ECIPE’s Steering Committee/Advisory Board, Professor emeritus of economics at Sciences Po Paris, and Director of Groupe d’Economie Mondiale (GEM) at Sciences Po since its creation in 1997.  GEM is an independent research unit seeking to improve the performance of French and European public policies in a global world.

From 1986 to 1990, Patrick Messerlin was a Senior Economist at the Research Department of the World Bank.  In 1990, he joined Sciences Po as a Professor of economics.  He was also a visiting professor at the University of Houston (Texas, USA), Simon Fraser University (British Columbia, Canada), Johann Wolfgang Goethe Universität (Frankfurt Am Main, Germany) and Keio University (Tokyo, Japan).  He has written many books and articles on his areas of expertise.

In 2001-2002, Patrick Messerlin was a special advisor to Mike Moore, the WTO Director General.  He also served as a member of the Preparatory Conference to the G7-G8 Summits (a group of independent persons gathered by the Peterson Institute for International Economics and the Tokyo Foundation).  In 2003-2005, he co-chaired with Ernesto Zedillo, Director of the Yale Center for the Study of Globalization, the Task Force on “Trade for Development” for the Millennium Development Goals of the United Nations.  In 2008-2011, he also co-chaired with Ernest Zedillo the joint World Bank & UK Department for International Development Task Force on Global Finance and Trade Architecture.  In 2009-2012, he was a member of the World Economic Forum’s Global Trade Council, which he chaired in 2010-2011During all these years, he has been a consultant to many international organizations, governments and firms.    

  • Korea Project

    Building Consistent Policies on Subsidies in the Film Industry: Institutions and Instruments in France and Korea

    By: Patrick Messerlin 

    This paper explores a much-neglected aspect of cultural policies: the role of the institutions in charge and the way they use the instruments at their disposal. It focuses on the film industry which offers the remarkable contrast on how the Korean film industry has outperformed the French one in less than twenty years. This paper provides three conclusions. First, it presents an economic analysis of the French and Korean institutions which shows that building a...

  • Korea Project

    In Search of an Effective Trade Policy for the Film Industry: Lessons from Korea

    By: Patrick Messerlin Jimmyn Parc 

    This article explores which trade-related policies are effective – that is both economically and culturally sound – to promote the film industry that has recently been highlighted more due to its prominent political, economic and cultural dimensions. By examining the trade-related policies of nine major countries for their film industries over the last forty years, several important findings are extracted which contribute towards a more pragmatic debate...

  • Korea Project

    The True Impact of Shorter and Longer Copyright Durations: From Authors’ Earnings to Cultural Creativity and Diversity

    By: Jimmyn Parc Patrick Messerlin 

    Since its origin, one of the key concerns regarding copyright law was the duration of its protection. Over the last half-century, there has been a strong advocacy to prolong copyright duration. In this respect, it is important to rigorously examine if a longer copyright duration is helpful in guaranteeing the earnings of authors from their works as well as the promotion of cultural creativity and diversity. This paper addresses these issues by adopting a...

  • Korea Project

    The Success of K-pop. How Big and Why So Fast?

    By: Patrick Messerlin 

    Over the past decade, a specific form of Korean popular music—K-pop—has enjoyed huge success around the world. Previous explanations have mostly focused on the demand side, such as intra-Asian cultural relations. This paper shifts the focus onto the supply side. Firstly, it presents new evidence on the scale of K-pop’s success in markets—with price-tags or no price-tag. Secondly, it argues that K-pop firms have been successful because they have made the...

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