Theorizing Colonial Cinema is a millennial retrospective on the entangled intimacy between film and colonialism from film's global inception to contemporary legacies in and of Asia.

AcknowledgmentsOn Romanization, Naming and TranslationIntroduction, by Nayoung Aimee Kwon and Takushi OdagiriPart I: "Time and Racialized Other: Colonial Modernity and Early Cinema"1. Time, Race, and the Asynchronous in the Colonial Documentaries of Malaya, by Nadine Chan2. Facing Malcontent Colonial Korean Comrades: A Typology of Colonial Cinema in Asia's Socialist Alliances, by Moonim Baek3. Colonial-Era Film Theory, Spectatorship, and the Problem of Internalization, by Aaron Gerow4. Chinese Cinema's Other: Wrangling over "China-humiliating" Films (ruHua pian), by Yiman Wang5. World Export: Melodramas of Colonial Conquest, by Jane Marie GainesPart II: "Divided Mis-en-Scène: Colonial Cinema and Cold War Afterimages"6. Tarzan/Taishan and Other Orphans: Taiwan's Melodrama of Decolonization, by Zhang Zhen7. What Is an Auteur? Ho Yong/Hinatsu Eitaro/Huyung Between (Post)Colonial Indonesia, Japan, and Korea, by Thomas A. C. Barker and Nikki J. Y. LeePart III: "Millennial Hauntings: Rising Global Asian Cinemas"8. Cinema's Coloniality, by Takushi Odagiri9. A Hallucinatory History of the Philippine-American War: Khavn's Balangiga: Howling Wilderness, by José B. Capino10. Millennial Vengeance: Park Chan-Wook's Agassi (The Handmaiden) and the Return of Postcolonial Japonisme, by Nayoung Aimee KwonIndex