Crossings: Asian Cinema and Media Culture Series
Hong Kong University Press is reaching out to rising and established scholars for new, outstanding scholarship (monographs and edited volumes) for our Crossings: Asian Cinema and Media Culture series, co-edited by Poshek Fu (University of Illinois, Urbana-Champagne) and Man-Fung Yip (University of Oklahoma). If you would like to discuss a proposal with us, or have any questions about our publication processes, we would be delighted to hear from you. Please contact our Acquisitions Editors Kenneth Yung at kenyung@hku.hk or Yasmine Hung at yhungyy@hku.hk.
Submitting a Book Proposal
To submit a proposal, please include:
- A statement of the argument or purpose of the manuscript, explaining how it will add to the existing literature on the topic
- A table of contents, including a brief synopsis of each chapter
- A sample chapter, if available
- A word count of the project (including bibliography, notes, etc.) and details of other elements of the manuscript, such as illustrations, maps, or tables
- A description of the projected audience, or market, for the book
- An analysis of competing books (if any exist) and a brief explanation of the uniqueness of the proposed book
- A curriculum vitae and/or other material describing the author’s background and expertise in the area
About the Series
The series “Crossings: Asian Cinema and Media Culture” publishes books in English and Chinese that investigate Asian cinema and media from cross-disciplinary and cross-methodological perspectives. It situates Asian cinema and media within a global or regional framework and explores different dimensions of transnationality in relation to production, distribution, and reception. It also entails trans-medial interrogations of past and present media culture, looking into the complex interactions of media forms and how they have shaped aesthetic and social practices. Wide-ranging in scope and method, the series places special emphasis on cutting-edge scholarship that draws on careful archival research or derives from vigorous, insightful theoretical study.
About the Editors
Poshek Fu is a professor in the Department of History at University of Illinois, Urbana-Champagne. Link.
Man-Fung Yip is an associate professor and chair in the Department of Film and Media Studies at the University of Oklahoma. Link.
Titles in the Series
- Jing Jing Chang, Screening Communities: Negotiating Narratives of Empire, Nation, and the Cold War in Hong Kong Cinema (February 2019)
- Wai-Siam Hee, Remapping the Sinophone: The Cultural Production of Chinese-Language Cinema in Singapore and Malaya before and during the Cold War (November 2019)
Forthcoming Titles
- Adrian Yuen Beng Lee, Malaysian Cinema in the New Millennium: Transcendence beyond Multiculturalism (Expected August 2022)
Malaysian Cinema in the New Millennium offers a new approach to the study of multiculturalism in cinema by analysing how a new wave of filmmakers champion cultural diversity using cosmopolitan themes. Adrian Lee offers a new inquiry of Malaysian cinema that examines how the “Malaysian Digital Indies” (MDI) have in recent years repositioned Malaysian cinema within the global arena. The book shines a new light on how politics and socioeconomics have influenced new forms and genres of the post-2000s generation of filmmakers, and provides a clear picture of the interactions between the commercial cinema and politics and socioeconomics in the first two decades of the new millennium. It also assesses how the MDI movement was successful in creating a transnational cinema by displacing and deterritorialising itself from the context of the national, and illustrates how MDI functions as a site for questioning and proposing a new national identity in the era of advanced global capitalism and new Islamization. Covering all these inter-related topics, Lee’s book is a pioneering and comprehensive work in the study of Malaysian cinema in the recent decades.
- Jeff Kyong-McClain et al eds., Chinese Cinema: Identity, Power, and Globalization (Expected September 2022)
In Chinese Cinema: Identity, Power, and Globalization, a variety of scholars explore the history, aesthetics, and politics of Chinese cinema as the Chinese film industry grapples with its place as the second largest film industry in the world. Exploring the various ways that Chinese cinema engages with global politics, market forces, and film cultures, this edited volume places Chinese cinema against an array of contexts informing the contours of Chinese cinema today. The book also demonstrates that Chinese cinema in the global context is informed by the intersections and tensions found in Chinese and world politics, national and international co-productions, the local and global in representing Chineseness, and the lived experiences of social and political movements versus screened politics in Chinese film culture. This work is a pioneer investigation of the topic and will inspire future research by other scholars of film studies.
About the Press
Since its establishment in 1956, the Press has grown from a publisher of only a few titles, primarily studies done by the University’s own faculty, to one that releases up to 50 new titles a year from leading scholars around the world. All Press publications undergo a rigorous peer review process before they are accepted for publication. Building on our unique position in Asia, works published by the Press examine, critique, and celebrate Asia’s place in the world. These represent the full spectrum of academic disciplines, cover both historical and future issues, span all theoretical points of view, and range from in-depth local analyses through regional comparisons to global syntheses.
