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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

    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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