This edited volume focuses on South and East Asian cinema, exploring transnational connections between these film industries from the point of view of narratives, topics and themes, as well as in terms of co-productions. At a time of resurgent nationalisms and increasing fortifications of (actual and symbolic) borders, the chapters in this book explore cinematic work that challenge these boundaries and promote a reflection on the social, cultural, political and economic value of international exchanges and collaborations within the context of Asia.
Indeed, notwithstanding the aforementioned tendency to implement border policing and the revival of nationalist sentiments, South and East Asian cinemas retain a strong transnational character, as not only genres and themes are borrowed and exchanged across borders, but also the popularity of the Indian, Chinese and Korean film industries extend well beyond their national borders – within Asia as well as in the West.
The chapters in this book were originally published as a special issue of Transnational Screens.
Table of Contents
1. Critical trends in transnational cinema: Inter-Asian productions and exchanges
Yanling Yang, Clelia Clini and Rohit K. Dasgupta
2. The emergence of China-India film co-production: policy and practice
3. Subalterns and the city: Dubai as cross-cultural caravanserai in City of Life and Pinky Memsaab
4. Repetition and difference in East Asian gothic cinema: the Bunshinsaba film series
5. Between cultural performance and cultural activism: contemporary documentary film festivals in India
6. Is Everybody Kung Fu Fighting? Indian Popular Cinema and Martial Arts Films
Clelia Clini is Research Associate at the Institute for Media and Creative Industries in Loughborough University, UK.
Rohit K. Dasgupta is Senior Lecturer in Cultural Industries at the School of Culture and Creative Arts in the University of Glasgow, UK.
Yanling Yang is Lecturer in Languages and Communications at the College of Humanities in the University of Exeter, UK.