First published in 1995 by the Asian Cinema Studies Society, Asian Cinema is a pioneering academic journal that has maintained its excellence and relevance in a field of study that has become increasingly crowded in recent years. The primary aim of Asian Cinema has been to enhance knowledge and understanding of filmmaking activity in Asia by publishing a mixture of research articles, interviews, and reviews of significant films and books. Until earlier this year, Asian Cinema was edited by John A. Lent of Temple University, whose commitment to the publication enabled it to grow from its initial incarnation as a newsletter to a fully-fledged journal, with bi-annual issues reaching a loyal readership through library and personal subscriptions. As of March 2012, Lent stepped down as editor, and Asian Cinema was acquired by the independent academic publisher Intellect, whose catalogue includes a wide range of film studies books and journals. Asian Cinema is now co-edited by Gary Bettinson, lecturer in Film Studies at Lancaster University and editor of Directory of World Cinema: China (Intellect, 2012), and Tan See Kam, Associate Professor of Communication at University of Macau and co-editor of Hong Kong Screenscapes: From the New Wave to the Digital Frontier (Hong Kong University Press, 2011).
Intellect has recently published Volume 23: Issue 1 of Asian Cinema, which features articles on industry history and current screen trends. This issue is also notable for examining the journey of the journal itself over the course of 17 eventful years in academic publishing, thereby marking the handing over of editorial guidance. John A. Lent chronicles the history of the Asian Cinema Studies Society and Asian Cinema, while Tan See Kam provides an account of his experiences with the society, and Natalie Siu-Lam Wong brings this reflective coverage up to date with her report on the Asian Cinema Studies Society Conference that was held at University of Hong Kong in March 2012. Other articles include Cynthia Childs’ analysis of representations of a colonial past in contemporary Korean cinema, while Tony Williams assesses the contribution made to Taiwanese cinema by the actor-director Jimmy Wang Yu. The theme of youth initiation in Sixth Generation Chinese cinema is examined by Derek Gladwin, with the presence of Chinese characters within changing European discourses being considered by Cindy Hing-Yuk Wong. John Berra and Liu Yang, co-editors of World Film Locations: Beijing (Intellect, 2012), contribute industry commentary by charting the mass-production of Chinese comedies since the surprise success of Crazy Stone (2006). Asian Cinema can be purchased via the Intellect website. Readers can subscribe to the journal, or place single orders for issues of particular interest.