ABSTRACT
This chapter explores a series of related issues in the entertainment industry that are not common in democratic societies but have become the new normal in encounters with the Chinese state. It describes the role of the state and netizens in the ‘witch-hunt’ against anyone suspected of supporting Taiwanese independence. The chapter looks into the interplay between witch-hunt initiators and what kinds of entertainment capital are being invested. It focuses on China’s urge for a positive narrative, and on how China uses statecraft to reach its goals. Chinese-made films hardly ever touch on sensitive social issues, and China’s film policy encourages productions that present the government in a good light. Co-productions are seen as ‘made in China’ and enjoy the same treatment as domestic films. Hollywood meanwhile has been grappling with how to make a good movie while incorporating elements to appeal to a Chinese target audience. The film industry in Taiwan is not controlled by the state.
