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While tracing both Hollywood’s internal foreign relations protocols and external regulatory interventions by the Chinese government, the U.S. State Department, the Office of War Information, and the Department of Defense, Hollywood Diplomacy contends that film regulation has played a key role in shaping images of Chinese, Japanese, and Korean ethnicities according to the political mandates of U.S. foreign policy.
List of contents
Introduction
Part I: Diplomatic Representations in Classical Hollywood
1. Censorship as Cultural Resistance: The Chinese Government's "Uplift" of National Images in 1930s Hollywood
2. Justified Patricide and (Im)Properly Directed Hatred: Regulating the Representations of Chinese and Japanese in Doolittle Raid Films
3. Beyond Propaganda Model: The Pentagon as a Technical Advisor for Brainwashing Films of the Cold War Era
Part II: The War on Terror, Contemporary Hollywood, and Its Global Discontents
4. From Die Another Day to "Another Day": The Anti-007 Movement, Pan-Asian Nationalism, and Protests as Censorship
5. The Interview as a Twenty-First-Century Great Dictator? Rethinking Film Regulation and Foreign Relations through the Sony Crisis
Conclusion: Chinese Censors Return to Hollywood
Appendix
Acknowledgments
Notes
Index
About the author
Hye Seung Chung is an associate professor of film and media studies at Colorado State University in Fort Collins, Colorado. She is the author of Hollywood Asian: Philip Ahn and the Politics of Cross-Ethnic Performance and Kim Ki-duk, as well as the co-author of Movie Migrations: Transnational Genre Flows and South Korean Cinema.
Summary
Argues that images of Chinese, Japanese, and Korean ethnicities have long been contested sites where the commercial interests of Hollywood studios and the political mandates of US foreign policy collide, compete against one another, and often become compromised in the process.
