Rob Stone is Chair of European Cinema and Professor of Film Studies at the University of Birmingham, where he co-directs B-Film: The Birmingham Centre for Film Studies.Paul Cooke is Centenary Chair of World Cinemas at the University of Leeds and the Director of the Centre for World Cinemas and Digital Cultures.Stephanie Dennison is Chair of Brazilian Studies and a founding member of the Centre for World Cinemas and Digital Cultures at the University of Leeds.Alex Marlow-Mann is Lecturer in Italian at the University of Kent.

• Introduction: The Longitude and Latitude of World Cinema Part I: Longitude 1. The Cinematic and the Real in Contemporary Chinese Cinema 2. Southeast Asian Independent Cinema: A World Cinema Movement 3. Global Intimacy and Cultural Intoxication: Japanese and Korean Film in the twenty-first century 4. Media Refashioning: From Nollywood to New Nollywood 5. Framing Democracy: Film in Post-democracy South Africa 6. Brazilian Cinema on the Global Screen 7. Transnational filmmaking in South America 8. Connected in "Another Way": Repetition, Difference and Identity in Caribbean Cinema 9. Women’s (R)evolutions in Mexican Cinema 10. Popular Cinema/Quality Television: The Audio-visual Sector in Spain 11. Contemporary Scandinavian Cinema: between Art and Commerce 12. British Cinemas: Critical and Historical Debates 13. Developments in Eastern European Cinemas since 1989 14. Cinema at the Edges of the European Union: New Dynamics in the South and the East 15. The Non/Industries of Film and the Palestinian Emergent Film Economy 16. Locations and Narrative Reorientations in Arab Cinemas/World Cinema 17. The Forking Paths of Indian Cinema: Revisiting Hindi Films through Their Regional Networks 18. American Indie Film and International Art Cinema: Points of Distinction and Overlap 19. Canadian Cinema(s) 20. Conventions, Preventions and Interventions: Australasian Cinema since the 1970s Part II: Latitude 21. Cinemas of Citizens and Cinemas of Sentiment: World Cinema in Flux 22. Transworld Cinemas: Film-Philosophies for World Cinemas’ Engagement with World History 23. Transnational Cinema: Mapping a Field of Study 24. "Soft Power" and Shifting Patterns of Influence in Global Film Culture 25. Realist Cinema as World Cinema 26. Regional Cinema: Micro-Mapping and Glocalisation 27. Global Women’s Cinema 28. Provincialising Heterosexuality: Queer Style, World Cinema 29. Stars across Borders: The Vexed Question of Stars’ Exportability 30. Film Fusions: the Cult Film in World Cinema 31. Perpetual Motion Pictures: Sisyphean Burden and the Global Screen Franchise 32. Screening World Cinema at Film Festivals: Festivalisation and (Staged) Authenticity 33. Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age 34. Another (Hi)story?: Reinvestigating the Relationship between Cinema and History 35. Archival Cinema 36. Digital Cinemas 37. Access and Power: Film Distribution, Re-intermediation and Piracy 38. The Emerging Global Screen Ecology of Social Media Entertainment 39. Remapping World Cinema through Audience Research 40. Eyes on the Future: World Cinema and Transnational Capacity Building Index

Rob Stone is Chair of European Cinema and Professor of Film Studies at the University of Birmingham, where he co-directs B-Film: The Birmingham Centre for Film Studies.Paul Cooke is Centenary Chair of World Cinemas at the University of Leeds and the Director of the Centre for World Cinemas and Digital Cultures.Stephanie Dennison is Chair of Brazilian Studies and a founding member of the Centre for World Cinemas and Digital Cultures at the University of Leeds.Alex Marlow-Mann is Lecturer in Italian at the University of Kent.

• Introduction: The Longitude and Latitude of World Cinema Part I: Longitude 1. The Cinematic and the Real in Contemporary Chinese Cinema 2. Southeast Asian Independent Cinema: A World Cinema Movement 3. Global Intimacy and Cultural Intoxication: Japanese and Korean Film in the twenty-first century 4. Media Refashioning: From Nollywood to New Nollywood 5. Framing Democracy: Film in Post-democracy South Africa 6. Brazilian Cinema on the Global Screen 7. Transnational filmmaking in South America 8. Connected in "Another Way": Repetition, Difference and Identity in Caribbean Cinema 9. Women’s (R)evolutions in Mexican Cinema 10. Popular Cinema/Quality Television: The Audio-visual Sector in Spain 11. Contemporary Scandinavian Cinema: between Art and Commerce 12. British Cinemas: Critical and Historical Debates 13. Developments in Eastern European Cinemas since 1989 14. Cinema at the Edges of the European Union: New Dynamics in the South and the East 15. The Non/Industries of Film and the Palestinian Emergent Film Economy 16. Locations and Narrative Reorientations in Arab Cinemas/World Cinema 17. The Forking Paths of Indian Cinema: Revisiting Hindi Films through Their Regional Networks 18. American Indie Film and International Art Cinema: Points of Distinction and Overlap 19. Canadian Cinema(s) 20. Conventions, Preventions and Interventions: Australasian Cinema since the 1970s Part II: Latitude 21. Cinemas of Citizens and Cinemas of Sentiment: World Cinema in Flux 22. Transworld Cinemas: Film-Philosophies for World Cinemas’ Engagement with World History 23. Transnational Cinema: Mapping a Field of Study 24. "Soft Power" and Shifting Patterns of Influence in Global Film Culture 25. Realist Cinema as World Cinema 26. Regional Cinema: Micro-Mapping and Glocalisation 27. Global Women’s Cinema 28. Provincialising Heterosexuality: Queer Style, World Cinema 29. Stars across Borders: The Vexed Question of Stars’ Exportability 30. Film Fusions: the Cult Film in World Cinema 31. Perpetual Motion Pictures: Sisyphean Burden and the Global Screen Franchise 32. Screening World Cinema at Film Festivals: Festivalisation and (Staged) Authenticity 33. Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age 34. Another (Hi)story?: Reinvestigating the Relationship between Cinema and History 35. Archival Cinema 36. Digital Cinemas 37. Access and Power: Film Distribution, Re-intermediation and Piracy 38. The Emerging Global Screen Ecology of Social Media Entertainment 39. Remapping World Cinema through Audience Research 40. Eyes on the Future: World Cinema and Transnational Capacity Building Index

Rob Stone is Chair of European Cinema and Professor of Film Studies at the University of Birmingham, where he co-directs B-Film: The Birmingham Centre for Film Studies.Paul Cooke is Centenary Chair of World Cinemas at the University of Leeds and the Director of the Centre for World Cinemas and Digital Cultures.Stephanie Dennison is Chair of Brazilian Studies and a founding member of the Centre for World Cinemas and Digital Cultures at the University of Leeds.Alex Marlow-Mann is Lecturer in Italian at the University of Kent.

• Introduction: The Longitude and Latitude of World Cinema Part I: Longitude 1. The Cinematic and the Real in Contemporary Chinese Cinema 2. Southeast Asian Independent Cinema: A World Cinema Movement 3. Global Intimacy and Cultural Intoxication: Japanese and Korean Film in the twenty-first century 4. Media Refashioning: From Nollywood to New Nollywood 5. Framing Democracy: Film in Post-democracy South Africa 6. Brazilian Cinema on the Global Screen 7. Transnational filmmaking in South America 8. Connected in "Another Way": Repetition, Difference and Identity in Caribbean Cinema 9. Women’s (R)evolutions in Mexican Cinema 10. Popular Cinema/Quality Television: The Audio-visual Sector in Spain 11. Contemporary Scandinavian Cinema: between Art and Commerce 12. British Cinemas: Critical and Historical Debates 13. Developments in Eastern European Cinemas since 1989 14. Cinema at the Edges of the European Union: New Dynamics in the South and the East 15. The Non/Industries of Film and the Palestinian Emergent Film Economy 16. Locations and Narrative Reorientations in Arab Cinemas/World Cinema 17. The Forking Paths of Indian Cinema: Revisiting Hindi Films through Their Regional Networks 18. American Indie Film and International Art Cinema: Points of Distinction and Overlap 19. Canadian Cinema(s) 20. Conventions, Preventions and Interventions: Australasian Cinema since the 1970s Part II: Latitude 21. Cinemas of Citizens and Cinemas of Sentiment: World Cinema in Flux 22. Transworld Cinemas: Film-Philosophies for World Cinemas’ Engagement with World History 23. Transnational Cinema: Mapping a Field of Study 24. "Soft Power" and Shifting Patterns of Influence in Global Film Culture 25. Realist Cinema as World Cinema 26. Regional Cinema: Micro-Mapping and Glocalisation 27. Global Women’s Cinema 28. Provincialising Heterosexuality: Queer Style, World Cinema 29. Stars across Borders: The Vexed Question of Stars’ Exportability 30. Film Fusions: the Cult Film in World Cinema 31. Perpetual Motion Pictures: Sisyphean Burden and the Global Screen Franchise 32. Screening World Cinema at Film Festivals: Festivalisation and (Staged) Authenticity 33. Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age 34. Another (Hi)story?: Reinvestigating the Relationship between Cinema and History 35. Archival Cinema 36. Digital Cinemas 37. Access and Power: Film Distribution, Re-intermediation and Piracy 38. The Emerging Global Screen Ecology of Social Media Entertainment 39. Remapping World Cinema through Audience Research 40. Eyes on the Future: World Cinema and Transnational Capacity Building Index