Poshek Fu is Professor of History at the University of Illinois at Urbana-Champaign. His research focuses on film history, Cold War cultures, and U.S.-China relations. He is the author of Between Shanghai and Hong Kong: The Politics of Chinese Cinemas (Stanford University Press, 1993) and Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai (Stanford University Press, 1993). He is also the editor of China Forever: The Shaw Brothers and Diasporic Cinema (University of Illinois Press, 2008), and co-editor of The Cinema of Hong Kong: History, Arts, Identity (Cambridge University Press, 2002).Man-Fung Yip is Associate Professor of Film and Media Studies at the University of Oklahoma. He is the author of Martial Arts Cinema and Hong Kong Modernity: Aesthetics, Representation, Circulation (Hong Kong University Press, 2017) and co-editor of American and Chinese-Language Cinemas: Examining Cultural Flows (Routledge, 2015). His work has also appeared in Cinema Journal, Chinese Literature Today, and numerous edited volumes.

• ; Introduction; ; Part I: Transnational Connections ; ; Art in Propaganda: The Poetics and Politics of Vietnamese Revolutionary Cinema; ; Incomplete Pictures: Mediated Immediacy in the South Korean Newsreel, The Frontline in Vietnam ; ; Gained in Translation: The Reception of Foreign Films in Cold War China; ; Contested Chineseness and Third Sister Liu in Singapore and Hong Kong: Folk Songs, Landscape, and Cold War Politics in Asia ; ; Part II: Global Conflicts, Local Formations ; ; Educational Films in Postwar Japan: Traces of American Cultural Policies in the Cold War Period; The Cold War as Media Environment in 1960s Japanese Cinema; ; Vehicles of Modernity: Gender, Mobility and Music in Evan Yang’s MP&GI films; ; Socks and Revolution: The Politics of Consumption in Sentinels under the Neon Lights (1964); ; Archive Revisionisms: Reevaluating South Korea’s State Film Censorship of the Cold War Era; Indian Cinema, Indian Democracy: An Unusual Cold War Saga, 1947-1989; ; Part III: Struggle for Hearts and Minds; ; Tropical Cold War Horror: Penumpasan Pengkhianatan G30S/PKI and the Traumatized Culture of Suharto’s New Order; ; Entertainment and Propaganda: Hong Kong Cinema, 1946-1959; ; The End of an Era: The Cultural Revolution, Modernization, and the Demise of Hong Kong Leftist Cinema; ; Who Views Whom through Whose Lenses? The Gazes in USIS Film Propaganda in South Korea; ;

Poshek Fu is Professor of History at the University of Illinois at Urbana-Champaign. His research focuses on film history, Cold War cultures, and U.S.-China relations. He is the author of Between Shanghai and Hong Kong: The Politics of Chinese Cinemas (Stanford University Press, 1993) and Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai (Stanford University Press, 1993). He is also the editor of China Forever: The Shaw Brothers and Diasporic Cinema (University of Illinois Press, 2008), and co-editor of The Cinema of Hong Kong: History, Arts, Identity (Cambridge University Press, 2002).Man-Fung Yip is Associate Professor of Film and Media Studies at the University of Oklahoma. He is the author of Martial Arts Cinema and Hong Kong Modernity: Aesthetics, Representation, Circulation (Hong Kong University Press, 2017) and co-editor of American and Chinese-Language Cinemas: Examining Cultural Flows (Routledge, 2015). His work has also appeared in Cinema Journal, Chinese Literature Today, and numerous edited volumes.

• ; Introduction; ; Part I: Transnational Connections ; ; Art in Propaganda: The Poetics and Politics of Vietnamese Revolutionary Cinema; ; Incomplete Pictures: Mediated Immediacy in the South Korean Newsreel, The Frontline in Vietnam ; ; Gained in Translation: The Reception of Foreign Films in Cold War China; ; Contested Chineseness and Third Sister Liu in Singapore and Hong Kong: Folk Songs, Landscape, and Cold War Politics in Asia ; ; Part II: Global Conflicts, Local Formations ; ; Educational Films in Postwar Japan: Traces of American Cultural Policies in the Cold War Period; The Cold War as Media Environment in 1960s Japanese Cinema; ; Vehicles of Modernity: Gender, Mobility and Music in Evan Yang’s MP&GI films; ; Socks and Revolution: The Politics of Consumption in Sentinels under the Neon Lights (1964); ; Archive Revisionisms: Reevaluating South Korea’s State Film Censorship of the Cold War Era; Indian Cinema, Indian Democracy: An Unusual Cold War Saga, 1947-1989; ; Part III: Struggle for Hearts and Minds; ; Tropical Cold War Horror: Penumpasan Pengkhianatan G30S/PKI and the Traumatized Culture of Suharto’s New Order; ; Entertainment and Propaganda: Hong Kong Cinema, 1946-1959; ; The End of an Era: The Cultural Revolution, Modernization, and the Demise of Hong Kong Leftist Cinema; ; Who Views Whom through Whose Lenses? The Gazes in USIS Film Propaganda in South Korea; ;

Poshek Fu is Professor of History at the University of Illinois at Urbana-Champaign. His research focuses on film history, Cold War cultures, and U.S.-China relations. He is the author of Between Shanghai and Hong Kong: The Politics of Chinese Cinemas (Stanford University Press, 1993) and Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai (Stanford University Press, 1993). He is also the editor of China Forever: The Shaw Brothers and Diasporic Cinema (University of Illinois Press, 2008), and co-editor of The Cinema of Hong Kong: History, Arts, Identity (Cambridge University Press, 2002).Man-Fung Yip is Associate Professor of Film and Media Studies at the University of Oklahoma. He is the author of Martial Arts Cinema and Hong Kong Modernity: Aesthetics, Representation, Circulation (Hong Kong University Press, 2017) and co-editor of American and Chinese-Language Cinemas: Examining Cultural Flows (Routledge, 2015). His work has also appeared in Cinema Journal, Chinese Literature Today, and numerous edited volumes.

• ; Introduction; ; Part I: Transnational Connections ; ; Art in Propaganda: The Poetics and Politics of Vietnamese Revolutionary Cinema; ; Incomplete Pictures: Mediated Immediacy in the South Korean Newsreel, The Frontline in Vietnam ; ; Gained in Translation: The Reception of Foreign Films in Cold War China; ; Contested Chineseness and Third Sister Liu in Singapore and Hong Kong: Folk Songs, Landscape, and Cold War Politics in Asia ; ; Part II: Global Conflicts, Local Formations ; ; Educational Films in Postwar Japan: Traces of American Cultural Policies in the Cold War Period; The Cold War as Media Environment in 1960s Japanese Cinema; ; Vehicles of Modernity: Gender, Mobility and Music in Evan Yang’s MP&GI films; ; Socks and Revolution: The Politics of Consumption in Sentinels under the Neon Lights (1964); ; Archive Revisionisms: Reevaluating South Korea’s State Film Censorship of the Cold War Era; Indian Cinema, Indian Democracy: An Unusual Cold War Saga, 1947-1989; ; Part III: Struggle for Hearts and Minds; ; Tropical Cold War Horror: Penumpasan Pengkhianatan G30S/PKI and the Traumatized Culture of Suharto’s New Order; ; Entertainment and Propaganda: Hong Kong Cinema, 1946-1959; ; The End of an Era: The Cultural Revolution, Modernization, and the Demise of Hong Kong Leftist Cinema; ; Who Views Whom through Whose Lenses? The Gazes in USIS Film Propaganda in South Korea; ;