It is a new attempt to reconstruct East Asian film history. agencies helped to initiate the first postwar inter-Asian film studio network.
While providing financial aids to film industries and supporting the cultural elite, U.S. I argue that the emergence of these motion picture studios was the offspring of the Cold War and American hegemony. More specifically, my aim is to elucidate the extent to which postwar film studios aspired to rationalize and industrialize the system of mass-production by way of co-producing, expanding the market, and co-hosting film festivals. This dissertation explores the ways in which postwar East Asian cinema was shaped by the practice of transnational collaborations and competitions between newly independent and still existing colonial states at the height of Cold War cultural politics.
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