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A more popular account for Wong Kar-wai's international appeal suggests that his work is indebted to music video. But if the secret of Wong's achievement is indeed music video, how is Wong's style affiliated? Can music video sufficiently explain his popularity with audiences from Los
Angeles, Tokyo, New York, London, and Paris? Why are his films appealing to viewers across so many different cultures and geographies? Is it because Wong, like other Asian directors, is adept at fashioning oriental enchantment with state-of-the-art sensations?
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.