Patrick Messerlin

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...

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...

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...

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...