ABSTRACT
In the rapidly developing field of religion/theology and film, East Asian cinema is yet to be included on the agenda, notwithstanding its increasing prominence in academic film study and rising popularity among the general worldwide audience. Concomitantly, many film scholars who carry out research on East Asia often focus on the relatively small sample of works distributed in art house cinemas and film festivals, while showing little serious interest in popular commercial cinema. My study breaks these geo-cultural and academic boundaries by attending to the hugely popular cinema in East Asia from a religious-theological perspective.
