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With the flourishing development of Chinese film industry, the output and quality of Chinese films have been continuously improved, and the theater chain system has become the main body of the distribution and projection of Chinese films. As theater chain enterprises enter the production industry, and the production companies start to invest in theater chain as well, the vertical integration of Chinese film industry has gradually become the development tendency. The cinemas of Chinese six theater chains account for 41% of the total, with the number of screens accounting for 44.2% of the total. Giants of Chinese six theater chains have gradually infiltrated their influence into the production and distribution of films by relying on their advantageous position. In addition, they also intensified the cooperation with the producers to continuously arrange their films in their own cinemas in large quantities, which, to a certain extent, has excluded the release rate of the films produced by other small enterprises, thus resulting in the film schedule monopoly in Chinese film industry. Besides, related words, such as “Film Schedule Monopoly” and “Illogical Schedule”, begun to appear in Chinese film market. Furthermore, film directors, experts and scholars also begun to talk frequently in major media against the unfair events of film schedule monopoly. The film industry, which is a part of cultural industry, is of great importance to national economy. With regard to film industry, only fair, equal and free market competition environment can ensure the prosperity and development of Chinese film industry. While, the film schedule monopoly in Chinese film industry violates the principle of fair competition, which impedes the development of this industry. Currently, no comprehensive studies on the film schedule monopoly in Chinese film have been conducted yet by Chinese scholars and government agencies. In addition, there is no clear regulations and boundaries for film schedule monopoly in China, which still remains to be researched. In view of this, I have a strong interest in film schedule monopoly in China. The vertical industry chain of film of CJ, CGV and Lotte, three major film companies in Korea, has become mature. However, every coin has two sides. They also exposed the problem on film schedule monopoly for blockbuster films. It is worth mentioning that in 2006, the schedule monopoly of “The Host”, a Korean film, aroused great controversy once again. Under the circumstances, Korean government and the Film Revitalization Committee issued a series of policies to prevent the film schedule monopoly. Moreover, experts and scholars also began to conduct comprehensives research on this phenomenon, and achieved certain accomplishments. Therefore, based on the research on the anti-monopoly system of film in Korean, relied on “Law on Revitalization of Film and Video Images”, combined with national conditions and the current situation of film schedule monopoly in China, the policy on anti-monopoly system applicable in China will be explored in this thesis. Through the study on film industry in Korean and the analysis on the actual situation of film schedule monopoly in China, it is believed that the following measures can be taken to solve the problem of film schedule monopoly in China, including the establishment of an anti-monopoly system of film industry, the improvement by the monthly system of Chinese domestic film protection, as well as the setting of compound cinemas and special art film museums. In conclusion, improving the film schedule monopoly in China and maintaining a fair and equal market competition environment for film industry can not only provide more opportunities for the art films and independent films, but also offer the audiences the rights to choose films, so as to promote the flourishing and positive development of Chinese film industry.