This book 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. Chapters examine the
East Asian film industries from the 1930s to the 2010s, which pursued
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.