Independent Filmmaking Across Borders in Contemporary Asia.

Cover -- Table of Contents -- Acknowledgements -- Author's Note -- Introduction -- Beyond the Homeland and Diaspora -- 1 The Art of the Dissensual -- Independent Border-Crossing Cinema in Asia -- Inter-Asia Transnational Cultural Productions -- Towards the Art of the Dissensual -- A Cinema of Translocalism -- Theorizing Border-Crossing Authorship -- Accented Cinema Reconsidered -- Minor Transnationalism -- Debating the Minor -- Realigning Independent Border-Crossing Cinema -- Asia is One (1973): A Prehistory of Border-Crossing Asia -- Circulating and Exhibiting Border-Crossing Films -- 2 A Landscape Over There -- Rethinking Translocality in Zhang Lu's Border-Crossing Films -- Reframing Translocality -- Departing from Yanbian: Zhang Lu as a Translocal Auteur -- Three Takes of Border-Crossing -- Desert Dream -- Dooman River -- Scenery -- Between Chinese Independent Cinema and Korean Diaspora Film -- Re-envisioning the Chinese Indie -- A Korean-Chinese Diaspora Film? -- 3 Fading Hometown and Lost Paradise -- Kuzoku's Politics of (Dis)location -- Kuzoku as an Independent Film Collective -- Saudade: Beyond the Landscape -- Rethinking Fūkei -- The Long Takes -- 'Saudade': An Affective Critique -- Bangkok Nites: Hidden Journey of a Thousand Miles -- Almost a Road Movie -- Into the Jungle -- Coda -- 4 Li Ying's Films of Displacement -- Towards an Im/Possible Chinese-in-Japan Cinema -- Reconsidering 'Chinese-in-Japan' -- Cinema of Displacement -- 2H: Becoming Chinese-in-Japan Toward the Fin-de-Siècle -- 'A Certain Kind of Community' in Post-1989 China -- Accented Style and Haptic Images -- Fin-de-Siècle Metaphor -- Aji: Tastes Like Home -- Towards a Chinese-in-Japan Cinema -- 5 Okinawan Dream Show -- Approaching Okinawa in Moving Image Works into the New Millennium -- Prologue: Okinawa, Rage, and Tears… -- Okinawa-on-Screen: Beyond Representation.

Movement-Image, Time-Image, and National Identity -- Narrating Okinawa/Japan: Genealogies -- Okinawan Dream Show -- Island Voyages: Travelling in Time -- Loops of Rensageki (Chain Play): Toward a Stratigraphic Image -- Art of Fabulation -- How to Remember the Battle of Okinawa? -- Secrets of Time -- 6 Homecoming Myanmar -- Midi Z's Migration Machine and a Cinema of Precarity -- Points of Departure -- Reframing Precarity -- Homecoming Trilogy -- Midi Z's 'Migration Machine' -- The State of Precarity: Chinese Diaspora on the Move -- Between Lashio and Hpakant: A Family Portrait -- Road to Jade City -- Affective-Authorial Risk-Taking -- At the Edges of Jade and Drug: Men at Work -- Coda: In the Name of a Visual Record -- Postscript -- The Promise of Subversive Art -- 'From a High Vantage Point' -- Gendering Border-Crossing Cinema -- Identity: A Document of Minor Objects -- ARAGANE: Wo/Men at Work -- Filmography -- Bibliography -- Index -- List of Illustrations -- 1.1 Group photo of Waseda University's Camera Reportage Research Society (Kamera ruporutāju kenkyūkai), the predecessor of NDU. Photo was taken at a training camp in Hiroshima (August 1966). Middle row: second to the left (Nunokawa Tetsurō) -- fifth to the -- 1.2 A Tayal lady from a Piexau tribal village, Yilan County, Nan'ao Township (May 1972) -- from Asia is One -- 1.3 A Tayal lady from a Piexau tribal village (May 1972) -- 2.1 Chang-ho lying on the frozen river -- 2.2 Jeong-ji (left) is welcomed by Chang-ho and his mute sister (right) -- 2.3 Jeong-ji is playing football with Chang-ho and other friends from the village -- 2.4 A wedding ceremony in Scenery -- 2.5 Foreign migrant worker in a light truck in Scenery -- 3.1 Seiji and Hosaka at the top of a building, overseeing the city of Kofu in Saudade -- 3.2 Shooting Takeru (played by rapper Dengaryū) walking through the shopping street.

3.3 Mahiru (right) and Pinky (left) visiting the senior day care center, listening to the old lady's story -- 3.4 Installation project 'Hidden Journey of a Thousand Miles' by Kuzoku + Studio Ishi + YCAM -- 3.5 A map illustrating the trip that Bangkok Nites took in Southeast Asia, from the brochure of 'Hidden Journey of a Thousand Miles' -- 3.6 Luck on Ozawa's motorcycle at the edge of the jungle in Bangkok Nites -- 4.1 Poster of Li Ying's Yasukuni -- 4.2 Protagonists in 2H: Ma Jinsan (upper left and right) and Xiong Bingwen (bottom left) -- 4.3 Li Ying's Director's Note on 2H, with a low-angle shot of Ma on the train -- 4.4 From the Japanese promotion brochure of 2H, where Ma sees through the camera eye -- Li is also introduced here as a 'China-born, Tokyo-based' filmmaker -- 5.1 8-mm image of an old lady and kids in Okinawan Dream Show -- 5.2 8-mm image of the street view in Okinawan Dream Show -- 5.3 A black American soldier in Okinawan Dream Show, the footage of which is later being 'treated' by Papajō in Hengyoro -- 5.4 Tarugani's installation apparatus in Hengyoro, onto which images from Takamine's family album are projected -- 5.5 The projected images from the Takamine family album in Hengyoro -- 5.6 The image of the survivor's face is projected onto Yamashiro's face in Your Voice Came Out Through My Throat -- 5.7 The mud men and women, trapped in the tunnel, are showered in the light and sound of the moving images of the Battle of Okinawa -- 5.8 The field of himeyuri toward the end of Mud Man -- 6.1 Hpakant's barren landscape of mining pits dotted with almost unrecognizable human figures -- 6.2 Male labourers at work in Midi's Hpakant documentaries -- 6.3 De-chin on the way to Hpakant in City of Jade -- 6.4 Miners posing for the camera in Midi's installation work 'My Folks in Jade City' for the 2016 International Film Festival Rotterdam.

7.1 Rusty machine at the coal mine in ARAGANE -- 7.2 Following the miners to the underground world in ARAGANE -- 7.3 Observing the dark universe in ARAGANE.

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