Following the Japanese invasion of northeast China in 1931, the occupying authorities established the Manchuria Film Association to promote film production efficiency and serve Japan's propaganda needs. Manchuria Film Association had two tasks: to make "national policy films" as part of a cultural mission of educating Chinese in Manchukuo (the puppet state created in 1932) on the special relationship between Japan and the region, and to block the exhibition of Chinese films from Shanghai that contained anti-Japanese messages. The corporation relied on Japanese capital, technology, and film expertise, but it also employed many Chinese filmmakers. After the withdrawal of Japanese forces in 1945, many of these individuals were portrayed as either exploited victims or traitorous collaborators. Yuxin Ma seeks to move the conversation beyond such simplistic and inaccurate depictions. By focusing on the daily challenges and experiences of the Chinese workers at the corporation, Ma examines how life was actually lived by people navigating between practical and ideological concerns. She illustrates how the inhabitants of Manchukuo navigated social opportunities, economic depression, educational reforms, fascist rule, commercial interests, practical daily needs, and more-and reveals ways in which these conflicting preoccupations sometimes manifested as tension and ambiguity on screen. In the battle between repression and expression, these Chinese actors, directors, writers, and technicians adopted defensive and opportunistic tactics. They did so in colonial spaces, often rejecting modernist representations of Manchukuo in favor of venerating traditional Chinese culture and values. The expertise, skills, and professional networks they developed extended well beyond the occupation into the postwar period, and may individuals reestablished themselves as cinema professionals in the socialist era.
Yuxin Ma is an associate professor of history at the University of Louisville and the author of Women Journalists and Feminism in China, 1898-1937.
List of Illustrations Acknowledgments Introduction 1 Public Compliance and Personal Choices: Actors 2 Making Entertainment Movies for Chinese Audiences: Directors 3 Writing Films or on Films: Chinese Writers and Journalists 4 Technology Transcending Ideologies: Chinese Technicians Conclusion Appendix A: Sketches of Key Figures Appendix B: Filmography with Synopsis Glossary of Names, Titles and Terms Notes Bibliography Index
"Ma paints a rich picture. . . . Ma brilliantly succeeds in her goal."-- "American Review of China Studies" "Ma's project seeks to capture the human agency within the entwined contexts of film industry, Japanese occupation regulations, and contested ideologies. . . . Ma's work, with resourceful and extensive archival research, makes a significant contribution to scholarship on the history of everyday life, the history of Manchukuo and Man'ei, and Chinese cinema studies."-- "H-Net Reviews" Winner, Best Scholarly Publication Award-- "Association of Chinese Professors of Social Sciences in the United States" "A unique and seminal study of meticulous scholarship. . . . Expertly organized and presented."--Midwest Book Review "Ma's well-researched study of the everyday experiences of Chinese filmmakers in Japan-controlled Manchuria brings out the complexity of Manchurian cultural life and film culture. This valuable book is a welcome addition to the expanding literature on the cultural history of Manchuria and Japanese-occupied cinema."--Po-Shek Fu, author of Between Shanghai and Hong Kong: The Politics of Chinese Cinemas "The first systematic study of the lived experiences of Chinese film workers at the Manchuria Film Association. It foregrounds human agency in surviving the political turmoil under Japanese occupation. Lucidly written, it is theoretically sophisticated and entertaining: a must-read for film scholars and general readers."--Daisy Yan Du, author of Animated Encounters: Transnational Movements of Chinese Animation, 1940s-1970s
