Darrell William Davis is Honorary Professor in the Department of Digital Arts and Creative Industries, Lingnan University, Hong Kong. He and Emilie Yueh-yu Yeh co-authored East Asian Screen Industries (2008), the first of its kind in the field. Davis coedited Cinema Taiwan: Politics, Popularity and State of the Art (2007), and most recently, he coedited 32 New Takes on Taiwan Cinema (2022). He wrote a key essay in A Companion to Chinese Cinema (2012); Davis was visiting professor at New York University, where he taught Chinese media marketization, Japanese and Taiwanese cinema. Michael Berry is Professor of Contemporary Chinese Cultural Studies, University of California, Los Angeles. He is also Director of the Center for Chinese Studies. A distinguished scholar in the field of Sinophone studies and recipient of the prestigious Guggenheim Fellowship, Professor Berry has authored 20 books and is renowned for his contributions to understanding modern Sinophone literature and culture. He has a particular interest in thriving, interdisciplinary fields such as digital humanities, intercultural communication, translation studies and more. His publications include Translation,Disinformation, and Wuhan Diary: Anatomy of a Transpacific Cyber Campaign (2022), Jia Zhangke on Jia Zhangke (2022), A History of Pain: Trauma in Modern Chinese Literature and Film (2008), and Speaking in Images: Interviews with Contemporary Chinese Filmmakers (with a foreword by Martin Scorsese, 2005).Peichi Chung is Associate Professor in the Department of Religious and Cultural Studies, Chinese University of Hong Kong, and received her PhD in Telecommunications from Indiana University Bloomington. Her research interests focus on the political economy of game industries in Asia and new technology and digital culture in East Asia. Her journal articles and book chapters appeared in edited volumes of Media and Technologies for Work and Play in East Asia (2021), Global Game Industries and Cultural Policy (2016) and Handbook of China’s Cultural and Creative Industries (2016). Her current research projects focus on independent game distribution and digital labor and data analytics in the esports industry in East Asia. Wesley Jacks is Assistant Professor in the Department of Digital Media and Creative Industries, Lingnan University. His research centers on media industry studies and Chinese film historiographies. His work has appeared in Journal of Chinese Cinemas, International Journal of Cultural Policy, and Global-e. Wenchi Lin is Professor of English at the National Central University, Taiwan and was the founding director of Taiwan Film Institute. He produced and curated Taiwan Cinema Tool Kit. Lin was visiting scholar at the University of Chicago, where he taught a course on Taiwan cinema. His most recent publication is 32 New Takes on Taiwan Cinema (2022). Emilie Yueh-yu Yeh is Lam Wong Yiu Wah Chair Professor of Visual Studies, Dean of Arts and Director of the Centre for Film and Creative Industries at Lingnan University. She is editor or co-editor of The Colonial Screen: Early Cinema in Hong Kong (2025), Early Film Culture in Hong Kong, Taiwan and Republican China (2018), , co-eBeyond Shanghai: New Perspectives on Early Chinese Cinema (2016), Rethinking Chinese Film Industry: New Methods, New Histories (2010) and she is co-author of Staging Memories: Hou Hsiao-hsien’s City of Sadness (2015) and East Asian Screen Industries (2008).

• FiguresAcknowledgements List of contributorsIntroduction: Media and Creative Industries in East AsiaDarrell William Davis and Emilie Yueh-yu YehPart I. Histories1. Japan’s Anime Industry: An Economic Ecology and its Changing DynamicsNobuko Kawashima 2. The Long 1980s of the Chinese Film Industry: Import Partnerships and Distribution CharacteristicsWesley Jacks3. The Making of Video City: The Diffusion of Video Technology in Hong Kong 1960s–1990sKlavier Jie-Ying Wang 4. The Korean Wave: Origins, Evolution, and Future Trajectories in the Post-National AgeDoobo ShimPart II. Genres5. Digital Heritage and the Documentation of Hong Kong in Video GamesPeichi Chung6. Innovation and Creativity in Taiwan’s Emergent Podcasting Culture: Toward a Local ArticulationEva Tsai7. The ‘Comprehensive and Individualistic Peer Production’ of Webnovels in China: Storytelling and Storylistening under Capitalist Platformization, State Regulation, and Intellectual InterventionMatthew Chew8. The Evolution of Metaverse and AI K-pop IdolsJinhee ParkPart III. Sustainability9. Walled In, Walled Out: The Transformation of Hong Kong Cinema in the Early 2020sYiu-Wai Chu10. Integrating the Experiences of Viewers: Strategies of Major Japanese Television Networks in the Age of NetflixErica Ka-yan Poon11. The Hype and Hope of Chinese-language Production Centre: Netflix and the Genrification of Taiwanese TV DramasShuling Huang12. Navigating Legitimacy: How Streaming Platforms Reshape Media Piracy in Contemporary ChinaFengyun Zhang13. Viu and Its Originals in Southeast Asia: The Regionalization of a Streaming Platform as an Interregional Contact ZoneEnoch Yee-lok TamIndex

Darrell William Davis is Honorary Professor in the Department of Digital Arts and Creative Industries, Lingnan University, Hong Kong. He and Emilie Yueh-yu Yeh co-authored East Asian Screen Industries (2008), the first of its kind in the field. Davis coedited Cinema Taiwan: Politics, Popularity and State of the Art (2007), and most recently, he coedited 32 New Takes on Taiwan Cinema (2022). He wrote a key essay in A Companion to Chinese Cinema (2012); Davis was visiting professor at New York University, where he taught Chinese media marketization, Japanese and Taiwanese cinema. Michael Berry is Professor of Contemporary Chinese Cultural Studies, University of California, Los Angeles. He is also Director of the Center for Chinese Studies. A distinguished scholar in the field of Sinophone studies and recipient of the prestigious Guggenheim Fellowship, Professor Berry has authored 20 books and is renowned for his contributions to understanding modern Sinophone literature and culture. He has a particular interest in thriving, interdisciplinary fields such as digital humanities, intercultural communication, translation studies and more. His publications include Translation,Disinformation, and Wuhan Diary: Anatomy of a Transpacific Cyber Campaign (2022), Jia Zhangke on Jia Zhangke (2022), A History of Pain: Trauma in Modern Chinese Literature and Film (2008), and Speaking in Images: Interviews with Contemporary Chinese Filmmakers (with a foreword by Martin Scorsese, 2005).Peichi Chung is Associate Professor in the Department of Religious and Cultural Studies, Chinese University of Hong Kong, and received her PhD in Telecommunications from Indiana University Bloomington. Her research interests focus on the political economy of game industries in Asia and new technology and digital culture in East Asia. Her journal articles and book chapters appeared in edited volumes of Media and Technologies for Work and Play in East Asia (2021), Global Game Industries and Cultural Policy (2016) and Handbook of China’s Cultural and Creative Industries (2016). Her current research projects focus on independent game distribution and digital labor and data analytics in the esports industry in East Asia. Wesley Jacks is Assistant Professor in the Department of Digital Media and Creative Industries, Lingnan University. His research centers on media industry studies and Chinese film historiographies. His work has appeared in Journal of Chinese Cinemas, International Journal of Cultural Policy, and Global-e. Wenchi Lin is Professor of English at the National Central University, Taiwan and was the founding director of Taiwan Film Institute. He produced and curated Taiwan Cinema Tool Kit. Lin was visiting scholar at the University of Chicago, where he taught a course on Taiwan cinema. His most recent publication is 32 New Takes on Taiwan Cinema (2022). Emilie Yueh-yu Yeh is Lam Wong Yiu Wah Chair Professor of Visual Studies, Dean of Arts and Director of the Centre for Film and Creative Industries at Lingnan University. She is editor or co-editor of The Colonial Screen: Early Cinema in Hong Kong (2025), Early Film Culture in Hong Kong, Taiwan and Republican China (2018), , co-eBeyond Shanghai: New Perspectives on Early Chinese Cinema (2016), Rethinking Chinese Film Industry: New Methods, New Histories (2010) and she is co-author of Staging Memories: Hou Hsiao-hsien’s City of Sadness (2015) and East Asian Screen Industries (2008).

• FiguresAcknowledgements List of contributorsIntroduction: Media and Creative Industries in East AsiaDarrell William Davis and Emilie Yueh-yu YehPart I. Histories1. Japan’s Anime Industry: An Economic Ecology and its Changing DynamicsNobuko Kawashima 2. The Long 1980s of the Chinese Film Industry: Import Partnerships and Distribution CharacteristicsWesley Jacks3. The Making of Video City: The Diffusion of Video Technology in Hong Kong 1960s–1990sKlavier Jie-Ying Wang 4. The Korean Wave: Origins, Evolution, and Future Trajectories in the Post-National AgeDoobo ShimPart II. Genres5. Digital Heritage and the Documentation of Hong Kong in Video GamesPeichi Chung6. Innovation and Creativity in Taiwan’s Emergent Podcasting Culture: Toward a Local ArticulationEva Tsai7. The ‘Comprehensive and Individualistic Peer Production’ of Webnovels in China: Storytelling and Storylistening under Capitalist Platformization, State Regulation, and Intellectual InterventionMatthew Chew8. The Evolution of Metaverse and AI K-pop IdolsJinhee ParkPart III. Sustainability9. Walled In, Walled Out: The Transformation of Hong Kong Cinema in the Early 2020sYiu-Wai Chu10. Integrating the Experiences of Viewers: Strategies of Major Japanese Television Networks in the Age of NetflixErica Ka-yan Poon11. The Hype and Hope of Chinese-language Production Centre: Netflix and the Genrification of Taiwanese TV DramasShuling Huang12. Navigating Legitimacy: How Streaming Platforms Reshape Media Piracy in Contemporary ChinaFengyun Zhang13. Viu and Its Originals in Southeast Asia: The Regionalization of a Streaming Platform as an Interregional Contact ZoneEnoch Yee-lok TamIndex