Global Screen Worlds (2026)
Global Screen Worlds (Bloomsbury 2026) 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.
The ebook edition of this book is Open Access and freely available on our website thanks to bloomsburycollections.com and the European Research Council. Click here to access.
PRAISE FOR THE BOOK
“Global Screen Worlds is an innovative and ambitious book, covering a vast territory of Asian and African Cinema; and the first of its kind. The authors interrogate various issues related to Cinema, such as Colonialism, Globalization, Internationalization and Indigeneity. While there have been books published on International Cinema in the past, none have the boldness of scope and innovativeness of analytical energy that characterizes the Global Screen, and the authors of the book rightly shift focus of attention from the word Cinema to Screen World.” – Wimal Dissanayake, Professor of Asian Cinema, University of Hawai’i, USA
CONTRIBUTORS
Kay Dickinson, Lindiwe Dovey, Gloria Chimeziem Ernest-Samuel, Sarah Gilani, Irene González-López, Mariagiulia Grassilli, Laurence Green, Zebunnisa Hamid, Jonathan Haynes, Morountodun Joseph, Askshaya Kumar, Charlotte Leghorn, Xi W. Liu, Xiaoning Lu, Fadekemi Olawoye, Zoly Rakotoniera, Luke Robinson, Masha Salazkina, Estrella Sendra, María Sob, Kate Taylor-Jones, Pooja Thomas, Georgia Thomas-Parr, Thongbam Saya Devi.
