In 1989, the Member States of the European Union integrated their TV markets together in order to create a larger and more open ‘single TV market’ through the Television without Frontiers Directive. The French film industry used this opportunity to extract additional revenues by implementing TV quotas and strengthening the chronologie des medias. This paper examines the impact of these two measures on the French film and TV industries and shows how they were incoherent. In contrast to the expectations of the French film industry, these measures have induced it to produce less attractive films and burdened the TV industry with increased regulatory costs. While the government poured massive subsidies into the filmmaking sector, this endeavor has not been able to significantly improve the attractiveness of French films. In this regard, the Korean film industry offers valuable lessons. Since the late 1990s, the Korean government has significantly reduced its level of protectionism and scaled back its intervention in the industry. Crucially, business has been the main engine to produce attractive films that can compete with Hollywood films in the open market. For the French film industry, the findings in this paper suggest which direction its Grandes Manœuvres should pursue.

中文翻译：

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克服法国影视市场不连贯的“大动作”：法韩经验教训

1989 年，欧盟成员国将它们的电视市场整合在一起，以通过无国界电视指令创建一个更大、更开放的“单一电视市场”。法国电影业利用这个机会通过实施电视配额和加强媒体编年表来获取额外收入。本文考察了这两项措施对法国电影和电视行业的影响，并说明了它们之间的不一致之处。与法国电影业的预期相反，这些措施导致其制作吸引力较低的电影，并增加了电视业的监管成本。尽管政府对电影制作部门投入了大量补贴，但这种努力并没有显着提高法国电影的吸引力。在这方面，韩国电影业提供了宝贵的经验教训。自 1990 年代后期以来，韩国政府大幅降低了保护主义水平，并缩减了对该行业的干预。至关重要的是，商业一直是制作能够在公开市场上与好莱坞电影竞争的有吸引力的电影的主要引擎。对于法国电影业，本文的研究结果表明了其 Grandes Manœuvres 应该追求的方向。