为反垄断力量带来平衡:修订现代电影市场的最高法令

Q3 Social Sciences
J. Schwartz
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引用次数: 0

摘要

摘要:在传媒业中,市场力量的集中并不是什么新鲜事,政府干预来打破这种集中也不是什么新鲜事。70多年来,娱乐业一直在历史上强大的电影制片厂和司法部之间达成的协议的阴影下运作,这些协议要求制片厂退出放映市场,而在美国电影工业的诞生过程中,这些电影制片厂已经巩固了它们在放映市场的主导地位。然而,在同一时期,对反垄断法的理解发生了变化,曾经是一个独立的“电影”行业已经膨胀成一个庞大的娱乐市场。虽然今天的流媒体和科技巨头正在与加强监管的威胁作斗争,并呼吁更大胆的反垄断执法,但法律和实践发展的总体趋势表明,它们的前景远没有好莱坞前辈那样黯淡。事实上,随着时间的推移,1948年派拉蒙判决中出现的支持同意法令的政策和论点已经被严重削弱。内容和内容提供商的加速多样化造就了像Netflix、HBO和hulu这样的新行业领导者,以及像Quibi和peacock这样的创新竞争对手的激增,它们显然不受派拉蒙的限制。相反,“派拉蒙法令”的狭隘关注有可能扼杀“传统”影院剧情片制片人和发行商的竞争灵活性,因为他们试图与这些新的市场进入者作斗争。简而言之,考虑到当今电影业的现实,《派拉蒙法令》似乎已经过时了。本文主张修订或废除《最高法令》,以便更好地使传统电影制片厂与现代竞争对手的可允许活动保持一致。它对最高法院在1948年判决中所关注的问题进行了全面的审查,并确定法院的关注已经被反垄断法的后续发展或新的和充满活力的市场进入者的实际现实所削弱。虽然法院的反竞争关切可能仍然有效,但如果只关注那些仍然受《法令》约束的当事方,这些关切就显得不合时宜。相反,未来的反垄断执法将需要重新构建图景,以便更准确地应对市场集中化的风险。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Bringing Balance to the Antitrust Force: Revising the Paramount Decrees for the Modern Motion Picture Market
Author(s): Schwartz, Jonathan A. | Abstract: Concentration of market power is nothing new in the media industries—and neither is government intervention to break it up. For over seventy years, the entertainment industry has operated under the shadow of agreements between the historically powerful film studios and the Department of Justice to stay out of the exhibition market, where the studios had cemented their dominance in the naissance of the American film industry. During the same period, however, understandings of antitrust law have evolved and what was once a discrete “film” industry has ballooned into a massive entertainment marketplace. While today’s streaming and technology giants battle the threat of increased regulatory oversight and calls for bolder antitrust enforcement, the general trend of legal and practical developments suggests a far less bleak outlook than that of their Hollywood progenitors.In fact, the policies and arguments supporting the consent decrees that emerged from the 1948 Paramount decision have been severely weakened with the passing of time. The acceleration of diversification in content and content providers has created new industry leaders like Netflix, HBO, and Hulu—and a proliferation of innovative competitors like Quibi and Peacock—that are apparently excused from Paramount’s constrictions. Instead, the Paramount Decrees’ narrow focus risks stifling the competitive flexibility of “traditional” producers and distributors of theatrical feature films as they seek to combat these new market entrants. In short, the Paramount Decrees appear obsolete given the realities of the film industry today. This Article argues for revisions to, or rescission of, the Paramount Decrees in order to better align the permissible activities of traditional film studios with those of their modern competitors. It provides a thorough review of the concerns underlying the Supreme Court’s holding in 1948 and determines that the Court’s concerns have been undercut either by subsequent developments in antitrust law or the practical realities of new and dynamic market entrants. While the Court’s anticompetitive concerns may still be valid, they appear misplaced when focused solely on those parties still subject to the Decrees. Future antitrust enforcement will instead need to reframe the picture in order to more accurately address risks of market concentration.
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