Global Screen Worlds: Conversations across Cinema Cultures
New York et al.: Bloomsbury Academic (2026), xx, 348 pp.
"Global Screen Worlds brings together scholars from around the world to collaborate on comparative studies of specific African and Asian cinemas and audiovisual narrative media. This open access collection advances the concept of "screen worlds" rather than "world cinema" to acknowledge and reckon with the impact of new technologies on cinema and everyday life, and the contributors adopt a decolonial feminist approach that insists on localized, intersectional analyses that take race, gender, and class into account in their critique of historical and contemporary abuses of power. Many chapters are set against major world-historical events-such as the Cold War and the Bandung era-and grapple with the relationships among films, filmmaking practices, and social, historical, and cultural experiences. In the chapters, contributors variously explore, for example, filmmaking relationships between countries as diverse as the UAE and India, China and South Africa; K-pop fandom among audiences in Madagascar and North-east India, and Bollywood fandom in southern Nigeria; the use of parallel filmmaking genres and themes in Lagos and Mumbai, Tokyo and Lahore; and comparative analysis of the films of well-known African and Asian filmmakers such as Yasujiro Ozu and Alain Gomis, Satyajit Ray and Souleymane Cissé, and Wong Kar-wai and Mahamat Saleh Haroun." (Publisher description)
Introduction, 1
SECTION ONE: OPENING SPACES
1 Dreaming in Tsotsil: Attuning film to community and territory [Mexico] / María Sojob and Charlotte Gleghorn, 39
SECTION TWO: ACROSS GULFS AND OCEANS: A NEW LENS ON CROSS-CULTURAL INDUSTRY AND INDUSTRIES
2 Urban imaginaries between Dubai and Kochi: From cinematic to smart cities / Pooja Thomas and Kay Dickinson, 61
3 Parallel tracks: Documenting the TAZARA in the age of the belt and road initiative [abouth the TAZARA rail line, which links the Copperbelt of Zambia to
the Tanzanian port of Dar es Salaam] / Xiaoning Lu, 79
4 Sino–South African film industry connections: A preliminary review / Mariagiulia Grassilli and Luke Robinson, 101
SECTION THREE: ENGENDERING COMPARATIVE FILM STUDIES
5 World socialist women’s cinema of armed struggle / Masha Salazkina, 131
6 Nation, gender and political consciousness: Souleymane Cissé’s Baara and Satyajit Ray’s Ghare Baire / Sarah Jilani, 153
7 Lights, camera, action! Nollywood female filmmakers as nego feminists / Morountodun Joseph, 171
SECTION FOUR: OF RIFTS AND RESONANCE. REIMAGINING FILM STUDIES THROUGH CONVERSATION
8 Comparative noir urbanisms in Mumbai and Lagos / Akshaya Kumar and Jonathan Haynes, 195
9 The city as a site of contention: Contemporary Japanese and Pakistani cinemas in conversation / Irene González-López and Zebunnisa Hamid, 217
10 The possibility of an ‘Us’: Yasujiro Ozu’s legacy in Alain Gomis’ cinema / Estrella Sendra and Laurence Green, 237
11 Feeling absence in the screen worlds of Wong Kar-wai and Mahamat-Saleh Haroun / Xi W. Liu, 265
SECTION FIVE: CROSS-CULTURAL FUN AND FANDOM ACROSS AFRICA AND ASIA
12 K-Drama audiences in Madagascar and Northeast India / Zoly Rakotoniera and Thongbam Saya Devi, 287
13 ‘Bollywood be like … ’: Imagined worlds and cross-cultural fandom of Hindi media by ZeeWorld fans in Nigeria / Gloria Chimeziem Ernest-Samuel, Fadekemi Olawoye and Georgia Thomas-Parr, 307
SECTION ONE: OPENING SPACES
1 Dreaming in Tsotsil: Attuning film to community and territory [Mexico] / María Sojob and Charlotte Gleghorn, 39
SECTION TWO: ACROSS GULFS AND OCEANS: A NEW LENS ON CROSS-CULTURAL INDUSTRY AND INDUSTRIES
2 Urban imaginaries between Dubai and Kochi: From cinematic to smart cities / Pooja Thomas and Kay Dickinson, 61
3 Parallel tracks: Documenting the TAZARA in the age of the belt and road initiative [abouth the TAZARA rail line, which links the Copperbelt of Zambia to
the Tanzanian port of Dar es Salaam] / Xiaoning Lu, 79
4 Sino–South African film industry connections: A preliminary review / Mariagiulia Grassilli and Luke Robinson, 101
SECTION THREE: ENGENDERING COMPARATIVE FILM STUDIES
5 World socialist women’s cinema of armed struggle / Masha Salazkina, 131
6 Nation, gender and political consciousness: Souleymane Cissé’s Baara and Satyajit Ray’s Ghare Baire / Sarah Jilani, 153
7 Lights, camera, action! Nollywood female filmmakers as nego feminists / Morountodun Joseph, 171
SECTION FOUR: OF RIFTS AND RESONANCE. REIMAGINING FILM STUDIES THROUGH CONVERSATION
8 Comparative noir urbanisms in Mumbai and Lagos / Akshaya Kumar and Jonathan Haynes, 195
9 The city as a site of contention: Contemporary Japanese and Pakistani cinemas in conversation / Irene González-López and Zebunnisa Hamid, 217
10 The possibility of an ‘Us’: Yasujiro Ozu’s legacy in Alain Gomis’ cinema / Estrella Sendra and Laurence Green, 237
11 Feeling absence in the screen worlds of Wong Kar-wai and Mahamat-Saleh Haroun / Xi W. Liu, 265
SECTION FIVE: CROSS-CULTURAL FUN AND FANDOM ACROSS AFRICA AND ASIA
12 K-Drama audiences in Madagascar and Northeast India / Zoly Rakotoniera and Thongbam Saya Devi, 287
13 ‘Bollywood be like … ’: Imagined worlds and cross-cultural fandom of Hindi media by ZeeWorld fans in Nigeria / Gloria Chimeziem Ernest-Samuel, Fadekemi Olawoye and Georgia Thomas-Parr, 307
