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. Figures Tables Photos 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