chapter  8
Pages 5

It is intellectually fashionable these days to stress the multicultural and cosmopolitan nature of ‘Chinese cinemas’. Scholars have – justifiably – pointed to phenomena such as the production of Malay films by Shaw Brothers, the Anglophile world of Loke Wan Tho or the Japanese training received by numerous Taiyupian directors to make such a case. In doing so, we are reminded that Mandarin, Cantonese and Taiwanese Hokkien film production in the 1950s would certainly not have been possible had it not been for a complex network of flows that defined cultural production in east and South East Asia during the Cold War period.