Free trade agreements are great for capital markets—they boost
international commerce, with exporters and consumers reaping the benefits. But
many believe they’re a negative for domestic producers, especially in
industries that haven’t had much foreign competition. Once trade barriers are
torn down, folks fear the influx of foreign alternatives will drown local
producers.
This fear is somewhat reasonable—foreign products can erode
domestic producers’ market share, especially if they’re cheaper (as they often
are, given lower labor costs in many parts of the developing world). But this
isn’t automatic. As long as domestic producers continue providing products
people want, and at a reasonable price, they’ll have a market—they may just
have to become more competitive in order to stay viable.
Sometimes governments will launch “trade adjustment assistance”
programs to help domestic firms through the transition process, either advising
on how to adjust business models or even providing temporary subsidies. But the
benefits of these programs are questionable—they’re not cheap for governments
to provide, and the federal support lowers businesses’ incentives to become
more competitive on their own. France provides a good example: French
automakers couldn’t weather competition from technologically superior South
Korean cars, so François Hollande’s government decided to subsidize the
industry. Why would French automakers go to the trouble of revamping their
product if subsidies can keep them afloat?
Now, contrast this with the South Korean film industry.
Enterprise, Not
Government Protection, Helped Film Industry Flourish
In 2006, the Korean government removed the cap on foreign films,
providing a deluge of competition for Korean filmmakers. For the next four
years, audiences for Korean films dwindled as Korean moviegoers opted for
superior Hollywood movies.
But in 2010, Korean filmmakers fought back. They didn’t ask the
government for subsidies or renewed trade barriers. Instead, they simply made
better films! Filmmakers got more creative, tackling more varied genres and
more interesting—and often, more uniquely Korean—subject matter. Scripts and
production values improved, as did acting quality. As a result, more than 100
million Korean moviegoers saw domestic films in theaters this year, and Korean
films started becoming more popular overseas.
In short, Korean filmmakers’ self-determination not only saved
their industry domestically, but made it more internationally
competitive—allowing it to fully benefit from Korea’s free trade agreements
with the US, EU and ASEAN.
So next time anyone tells you free trade is a losing
proposition, tell them Korea’s story.