法国和韩国的两种电影补贴政策所产生的不同历史作用  

Different Historical Effects of Two Kinds of Film Subsidy Policies in France and Republic of Korea

作　　者：  曹怡平(译)[3] 吴丹丹(译) Patrick Messerlin;Jimmyn Parc;CAO Yiping;WU Dandan

机构地区：[1]国际经济政治欧洲中心指导委员会/咨询委员会 [2]马来西亚大学 [3]西南大学文学院影视艺术系 [4]成都工业职业技术学院

出　　处：《电影理论研究（中英文）》2023年第2期78-87,共10页Journal of Film Studies

摘　　要：许多国家对发展电影产业保持高度兴趣,以此作为促进其民族文化和增强软实力的一种手段。随着好莱坞电影在全球范围内主导地位的持续发展,决策者越来越多地将政府补贴视为促进本国电影产业发展的重要工具。实际上,补贴在促进电影产业方面的效果仍有待商榷。为了更好地分析这一问题,本文评估并比较了法国和韩国的经验教训。两国采用的政策工具在顺序上是相同的--进口配额、银幕配额,然后是电影补贴--但采用了几乎相反的补贴政策。Many countries maintain a high level of interest in developing their film industries as a means of promoting their national culture and enhancing their soft power.As the global dominance of Hollywood films continues to grow,policymakers are increasingly looking to government subsidies as an important way to boost their own film industries.In fact,the effectiveness of subsidies in boosting the film industry is still up for debate.To better analyze this issue,this paper evaluates and compares the lessons of France and South Korea.The two countries used the same policy tools in the same order--import quotas,screen quotas,then film subsidies--but the two countries adopted the subsidy policies almost contrarytotheir original practice.

关 键 词：电影产业 电影政策 补贴 法国 韩国 竞争 

分 类 号：J943[艺术—电影电视艺术]