This book explores the range and dynamism of contemporary Asian cinemas, covering East Asia (China, Japan, South Korea, Hong Kong, Taiwan), Southeast Asia (Thailand, Singapore, Malaysia), South Asia (Bollywood), and West Asia (Iran), in order to discover what is common about them and to engender a theory or concept of "Asian Cinema". It goes beyond existing work which provides a field survey of Asian cinema, probing more deeply into the field of Asian Cinema, arguing that Asian Cinema constitutes a separate pedagogical subject, and putting forward an alternative cinematic paradigm. The book covers "styles", including the works of classical Asian Cinema masters, and specific genres such as horror films, and Bollywood and Anime, two very popular modes of Asian Cinema; "spaces", including artistic use of space and perspective in Chinese cinema, geographic and personal space in Iranian cinema, the private "erotic space" of films from South Korea and Thailand, and the persistence of the family unit in the urban spaces of Asian big cities in many Asian films; and "concepts" such as Pan-Asianism, Orientalism, Nationalism and Third Cinema. The rise of Asian nations on the world stage has been coupled with a growing interest, both inside and outside Asia, of Asian culture, of which film is increasingly an indispensable component - this book provides a rich, insightful overview of what exactly constitutes Asian Cinema.

This book takes a new approach on understanding causes of extreme poverty and promising actions to address it. Its focus is on marginality being a root cause of poverty and deprivation. “Marginality” is the position of people on the edge, preventing their access to resources, freedom of choices, and the development of capabilities. The book is research based with original empirical analyses at local, national, and local scales; book contributors are leaders in their fields and have backgrounds in different disciplines. An important message of the book is that economic and ecological approaches and institutional innovations need to be integrated to overcome marginality. The book will be a valuable source for development scholars and students, actors that design public policies, and for social innovators in the private sector and non-governmental organizations.​

From the 1970s onward, “exploitation cinema” as a concept has circulated inside and outside of East Asian nations and cultures in terms of aesthetics and marketing. However, crucial questions about how global networks of production and circulation alter the identity of an East Asian film as “mainstream” or as “exploitation” have yet to be addressed in a comprehensive way. Exploiting East Asian Cinemas serves as the first authoritative guide to the various ways in which contemporary cinema from and about East Asia has trafficked across the somewhat-elusive line between mainstream and exploitation. Focusing on networks of circulation, distribution, and reception, this collection treats the exploitation cinemas of East Asia as mobile texts produced, consumed, and in many ways re-appropriated across national (and hemispheric) boundaries. As the processes of globalization have decoupled products from their nations of origin, transnational taste cultures have declared certain works as “art” or “trash,” regardless of how those works are received within their native locales. By charting the routes of circulation of notable films from Japan, China, and South Korea, this anthology contributes to transnationally-accepted formulations of what constitutes “East Asian exploitation cinema.”

The taste for horror is arguably as great today as it has ever been. Since the turn of the millennium, the horror genre has seen various developments emerging out of a range of contexts, from new industry paradigms and distribution practices to the advancement of subgenres that reflect new and evolving fears. New Blood builds upon preceding horror scholarship to offer a series of critical perspectives on the genre since the year 2000, presenting a collection of case studies on topics as diverse as the emergence of new critical categories (such as the contentiously named ‘prestige horror’), new subgenres (including ‘digital folk horror’ and ‘desktop horror’) and horror on-demand (‘Netflix horror’), and including analyses of key films such as The Witch and Raw and TV shows like Stranger Things and Channel Zero. Never losing sight of the horror genre’s ongoing political economy, New Blood is an exciting contribution to film and horror scholarship that will prove to be an essential addition to the shelves of researchers, students and fans alike.

This is the fifth volume in the series of books on the Southeast Asian water environment. The most important articles presented at the Eighth, Ninth and Tenth International Symposiums on Southeast Asian Water Environment have been selected for this book. It covers monitoring, treatment, and management issues related with environmental water, water supply, and wastewater. As the emerging issues, pollution with micropollutants and effects of climate change on water environment are also included. This publication is the result of building an academic network among researchers of related fields from different regions to exchange information. This book is an invaluable source of information for researchers, policy makers, NGOs, NPOs, and those who are concerned with achieving global sustainability within the water environment in developing regions.

This book explores the phenomenon of V-Cinema, founded in Japan in 1989 as a distribution system for direct-to-video movies which film companies began making having failed to recoup their investment in big budget films. It examines how studios and directors worked quickly to capitalize on niche markets or upcoming and current trends, and how as a result this period of history in Japanese cinema was an exceptionally diverse and vibrant film scene. It highlights how, although the V-Cinema industry declined from around 1995, the explosion in quantity and variety of such movies established and cemented many specific genres of Japanese film. Importantly the book argues that film scholars who have long looked down on video as a substandard medium without scholarly interest have been wrong to do so, and that V-Cinema challenges accepted notions of cultural value, providing insight into the formation of cinematic canons and inviting us to rethink what is meant by "Japanese cinema".

Providing an authoritative yet accessible introduction to the Asian Development Bank (ADB), this comprehensive Companion offers a detailed examination of the ADB’s objectives, policies, development outcomes, strengths and weaknesses, areas for reform, and challenges going forward.

Climate change has been attracting extensive attention worldwide due to its significant and irreversible impacts on the human living environments including hydrometeorological disasters, freshwater availability, land use and land change, urbanization, food production, disease outbreaks, and many other aspects. It has caused huge socio-economic losses, and is the utmost obstacle to the sustainable development of human society. Therefore, addressing the above problems is an urgent and necessary issue to explore the impacts of climate change on different aspects of the human living environment, as an important basis to adopt effective adaptive measures and actions for mitigation of climate change impacts.

The award-winning The New Palgrave Dictionary of Economics, 2nd edition is now available as a dynamic online resource. Consisting of over 1,900 articles written by leading figures in the field including Nobel prize winners, this is the definitive scholarly reference work for a new generation of economists. Regularly updated! This product is a subscription based product.