If you are experiencing problems downloading PDF or HTML fulltext, our helpdesk recommend clearing your browser cache and trying again. If you need help in clearing your cache, please click here . Still need help? Email firstname.lastname@example.org
It can be argued that the most exciting contemporary cinemas in the last decade or so have emerged from Asia. The combined forces of the three new waves in the Chinese world – mainland China, Taiwan and Hong Kong – since the early 1980s have produced established masters
like Zhang Yimou, Chen Kaige, Hou Hsiao-hsien, Edward Yang, Ang Lee, Tsai Ming-liang, Stanley Kwan and Wong Kar-wai, as well as the new visions of Jiang Wen, Jia Zhangke, Liu Bingjian, Chang Cho-chi, Lin Cheng-sheng, Yee Chih-yen, and Fruit Chan. Iranian cinema, led by Abbas Kiarostami and
the Makhmalbaf family, revives humanism and realism with its deceptively simple aesthetics. More recently, the booming industries of South Korea and Thailand, alongside always-thriving Bollywood, fascinate with their idiosyncratic variations on generic forms.
The journal aims to provide a platform for the study of new forms of cinematic practice and fresh approaches to cinemas hitherto neglected in western scholarship. It particularly welcomes scholarship that does not take existing paradigms and theoretical conceptualisations as given; rather, it anticipates submissions that are refreshing in approach and exhibit a willingness to tackle cinematic practices that are still in the process of development into something new.