The role of the official film production policy in stimulating a Flemish identity forms the central research question of this dissertation. The research project examines the period that starts in 1964, when a selective and culturally inspired support mechanism for feature films was introduced in Flanders, and runs until 2002, when the support system was structurally renewed. Within the field of nationalism studies, this dissertation contributes to a better understanding of recent cultural nationalism in Flanders. Moreover, by focusing on the under-studied aspect of film policy, this dissertation contributes to the existing research on the relationship between film and national identity, Belgian film historiography and the burgeoning international field of film policy studies. This dissertation regards Flemish identity as a national identity in the context in which national identities are conceptualized as contingent, dynamic and discursive constructions. As disseminators of representations, films provide some of the building blocks that individuals and groups can use to construct a national identity. While most studies focus on the textual representations, it is equally important to study the production context and the struggles for meaning behind the representations. Within a Flemish context, the government’s film policy plays an important role in that process. To study the Flemish film policy process, this dissertation makes use of original archival research, policy documents analysis, expert interviews and textual film analysis. The research conducted for this present study shows that Flemish film policy had a big impact on film production in Flanders. Between 1964 and 2002, more than three-quarters of all Flemish feature films received a government subsidy. On average, this support counted for more than half of (the Flemish share in) the total finance plan of the supported films. The introduction of the support mechanism in 1964 was the result of the Flemish striving for cultural autonomy in the Belgian ...