The economic reform and commercialization of the cultural industry in the last two decades have greatly changed how film is made and consumed in contemporary China. From the in-flow of Hong Kong, Taiwanese, and foreign investment to the annual import of ten Hollywood blockbusters (starting
in 1994); from independent film production companies to new regulations in 2002 which allow any citizen to apply to make a film; from film crew members getting involved in the production of TV soap operas and MTV to a new breed of underground art-house movies, the formal monopoly held by the
state-run studio system has gradually disintegrated and the Chinese film industry, like other cultural sectors, is undergoing a profound transformation with more and more diversified products.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.