The 'Avengers' storm has rekindled the issue of domestic film protection 2

During the holidays of April 30 and May 1, Avengers: Infinity War – a Hollywood blockbuster – accounted for nearly 70% of screenings in Vietnamese theaters.

This raises questions about the state’s role in regulating the film industry.

Trailer `Avengers: Infinity War`

Mr. Nguyen Phong Viet – who has worked in the distribution industry for many years – supports the application of a maximum market share ratio for a film.

The introduction of policies to protect domestic films appears in a number of countries.

The 'Avengers' storm has rekindled the issue of domestic film protection

Reveal: The three guys released a trailer with many action scenes

When released in Korea last weekend, Avengers: Infinity War collected 39.1 million USD (4.76 million tickets) in 5 days, accounting for 95% of Korean box office revenue.

China sets a limit on the number of foreign films allowed.

The 'Avengers' storm has rekindled the issue of domestic film protection

At a theater complex in Hanoi, audiences lined up to buy tickets on the evening of April 30 and most chose `Avengers: Infinity War`.

England was the first place to introduce a screen quota policy with the Motion Picture Act of 1927, stipulating that 7.5% of screened films must be British films (to combat the wave of films imported from Hollywood).

According to research by Korean film theorists – Lee Byoungkwan and Bae Hyuhn Suhck – published in Media Economics, screen quotas have long been a controversial issue.

Park Chan Wook – veteran Korean director – supports quotas and believes that this is the premise for the country’s cinema to thrive, after only a few decades it can compete with American films at home.

The 'Avengers' storm has rekindled the issue of domestic film protection

In 2006, director Park Chan Wook came to the Berlin Film Festival (Germany) and delivered a slogan supporting screen quotas.

Meanwhile, the US government criticized South Korea’s system for being based on the concept of free trade and viewing movies as a commodity that should be subject to fair competition.

In their study, Lee Byoungkwan and Bae Hyuhn Suhck analyzed film revenues over periods and concluded that quotas do not have a major impact on the viability of domestic cinema.

In the UK, according to the research book Quota Quickies: The Birth of the British ‘B’ Film by authors Steve Chibnall and Brian McFarlane, the screen quota policy of the 1920s backfired when a series of low-budget films