Abstract
Previously, the film business activities in East Asia were discussed mainly in terms of the nation-states involved. With the most recent changes in East Asia’s political-economic scene, Cheung argues to shift the theoretical focus from the usual local/national/global to the East Asian regional, in order to highlight the tightly knitted film network consisting of “media capitals”—Beijing, Busan, Hong Kong, Shanghai, Taipei, and Tokyo. While they are all backed by the most recent film-related policies of their corresponding federal/central governments to engage proactively in the regional film sector in the twenty-first century, Cheung’s discussion is anchored to Hong Kong’s film-related policies since 1997. Without an absolute winner among them in this nexus of regional film businesses, what they reveal is their complicated, multilayering and multidirectional relationships.
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Filmography
Cape No. 7 (海角七號). Directed by Wei Te-sheng. 2009.
The Truth Shall Not Sink with Sewol (aka Diving Bell) (Da-ee-bing-bell). Directed by Lee Sang-ho and Ahn Hae-ryong. 2014.
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Cheung, R. (2018). East Asia’s Film Business. In: Magnan-Park, A., Marchetti, G., Tan, S. (eds) The Palgrave Handbook of Asian Cinema. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-349-95822-1_5
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