The personal, the political and the popular: Sino-Japanese film collaboration in the early reform era

Abstract

Abstract Following the severe restrictions of the Cultural Revolution, China restarted widespread imported film distribution in 1978. Between 1978 and the start of the revenue-sharing quota in 1994, more than 600 imported films from over 50 nations screened across China. For much of this era, Japan was the most favored importer—exciting industry personnel and audiences alike. The Sino-Japanese connection, which combined political-cultural reciprocity with popular film content, was an ideal match for an industry in the midst of a transition between a Planned Economy past to a market-based future. Since moviegoing in China reached all-time heights during this period, the legacy of several of the most popular Japanese imports has endured for decades.