Series Editors: Koichi Iwabuchi and Chris Berry

What is Asia? What does it mean to be Asian? Who thinks they are Asian? How is "Asian-ness" produced? None of these questions can be answered without talking about the screen-based media. Asia today is becoming a transnational public space in which all kinds of cross-border connections proliferate, from corporate activities to citizen-to-citizen linkages. All of this mediated and shaped by media – from Japanese and Korean television series, Hong Kong action films, video piracy, J-Pop and K-Pop, to a variety of subcultures facilitated by internet sites and other computer-based cultures. And outside Asia, films are packaged and marketed at film festivals and by DVD distribution companies as "Asian," and the descendents of migrants are not only identified by others as "Asian" but also increasingly identify themselves as "Asian," and then turn to "Asian" screen cultures to find themselves and their roots.

The continued reliance on national frameworks in politics, economics and other social sciences, media studies, film studies, and other disciplines and fields is becoming obsolete. This series on trans-border screen-based culture in Asia aims to not only spotlight new research but also promote more groundbreaking research in this area.

In this series, we have Olivia Khoo's The Chinese Exotic: Modern Diasporic Femininity, Chua Beng Huat and Koichi Iwabuchi's (editors) East Asian Pop Culture: Analysing the Korean Wave, Chris Berry, Nicola Liscutin and Jonathan D. Mackintosh's (editors) Cultural Studies and Cultural Industries in Northeast Asia, Jinhee Choi and Mitsuyo Wada Marciano's (editors) Horror to the Extreme and Ying Zhu, Michael Keane and Ruoyan Bai's (editors) TV Drama in China.