Felicia Chan is Lecturer in Screen Studies at the University of Manchester, where she was previously Research Councils UK Fellow in Film, Media and Transnational Cultures. She has contributed to the journals Television, Inter-Asia Cultural Studies and New Cinemas: Journal of Contemporary Film, among others, and is co-editor of the collection Genre in Asian Film and Television: New Approaches (2011).

• Introduction I. Forms and Identities 2.Wuxia cross-dressing and transgender identity: The roles of Brigitte Lin Ching- hsia from Swordsman II to Ashes of Time 3.Performing history in Ang Lee’s Lust, Caution 4.Backstage/onstage cosmopolitanism: Jia Zhangke’s The World, Still Life and 24 City II. Institutions and Economies 5.The International Film Festival and the Making of a National Cinemas: The case of Rotterdam and a Malaysian-Chinese film 6.When a foreign-language film has ‘too much English’ in it: The case of a Singapore film and the Oscars III. Assemblages and Embodiments 7.Trompe l’oeil animation in Satoshi Kon’s Perfect Blue, Millennium Actress, and Paprika 8.Remembering to forget: Cinematic memory as self-redemption in Hirokazu Koreeda’s Afterlife

Felicia Chan is Lecturer in Screen Studies at the University of Manchester, where she was previously Research Councils UK Fellow in Film, Media and Transnational Cultures. She has contributed to the journals Television, Inter-Asia Cultural Studies and New Cinemas: Journal of Contemporary Film, among others, and is co-editor of the collection Genre in Asian Film and Television: New Approaches (2011).

• Introduction I. Forms and Identities 2.Wuxia cross-dressing and transgender identity: The roles of Brigitte Lin Ching- hsia from Swordsman II to Ashes of Time 3.Performing history in Ang Lee’s Lust, Caution 4.Backstage/onstage cosmopolitanism: Jia Zhangke’s The World, Still Life and 24 City II. Institutions and Economies 5.The International Film Festival and the Making of a National Cinemas: The case of Rotterdam and a Malaysian-Chinese film 6.When a foreign-language film has ‘too much English’ in it: The case of a Singapore film and the Oscars III. Assemblages and Embodiments 7.Trompe l’oeil animation in Satoshi Kon’s Perfect Blue, Millennium Actress, and Paprika 8.Remembering to forget: Cinematic memory as self-redemption in Hirokazu Koreeda’s Afterlife

Felicia Chan is Lecturer in Screen Studies at the University of Manchester, where she was previously Research Councils UK Fellow in Film, Media and Transnational Cultures. She has contributed to the journals Television, Inter-Asia Cultural Studies and New Cinemas: Journal of Contemporary Film, among others, and is co-editor of the collection Genre in Asian Film and Television: New Approaches (2011).

• Introduction I. Forms and Identities 2.Wuxia cross-dressing and transgender identity: The roles of Brigitte Lin Ching- hsia from Swordsman II to Ashes of Time 3.Performing history in Ang Lee’s Lust, Caution 4.Backstage/onstage cosmopolitanism: Jia Zhangke’s The World, Still Life and 24 City II. Institutions and Economies 5.The International Film Festival and the Making of a National Cinemas: The case of Rotterdam and a Malaysian-Chinese film 6.When a foreign-language film has ‘too much English’ in it: The case of a Singapore film and the Oscars III. Assemblages and Embodiments 7.Trompe l’oeil animation in Satoshi Kon’s Perfect Blue, Millennium Actress, and Paprika 8.Remembering to forget: Cinematic memory as self-redemption in Hirokazu Koreeda’s Afterlife