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.

The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by The European Research Council.