This study examines the interdependent relationships between the film industry and the state in East Asia, treating films as political economic products, mixtures of government policy and industrial motives, rather than mere works of art or media commodities. We examine the East Asian film industries from the 1930s to the 2010s pursuing their own economic and political goals by cooperating, negotiating and conflicting with states. Through studies of national film policies, film industry strategies and cultural-political influences on audience receptivity, this book reveals how films are formed by the interaction of the state, the film companies and audiences.
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List of Contributors

Introduction
Noriko Sudo

1 Film Control in the Japan Film Law (Eiga-ho)
Atsuko KATO

2 “Me-istic Nationalism” in Films Promoted by the Japan Self-Defense Forces: Focus on Midnight Eagle as an Example
Noriko SUDO

3 Collaboration between U.S. Film Industry and U.S. Government for Film Distribution in the Republic of China
Takeshi TANIKAWA

4 WWII Film Production in Chongqing: The Japanese Spy
Yanli HAN

5 Factors in the Establishment of the Animation Industry in Postwar Japan
Tomoya KIMURA

6 Virtuous and Depraved: Portrayals of Women in North Korean Cinema
Benjamin JOINAU

7 Dual Language, Dubbed Cinema: An Enlightened Colonial Subject in Homeless Angels
Youngjae YI

8 Double-edged National Imagery: From The Daughter of the Samurai to My Japan
Takeshi TANIKAWA

9 The Mysterious Popularity of Japanese Films in Taiwan in the 1950s and ’60s
Mamie MISAWA

Index