Abstract
At present, Asia is the only continent that has not yet produced an inclusive, representational, and emboldening continental film movement to present the concerns that unify its people. At best, Pan-Asian cinema is a regional framework limited to East Asian nations who share economic clout along with a shared Confucian legacy. However, it excludes the rest of greater Asia. The concept of Poly-Asian cinema is introduced as a means to invoke the need for a continent-embracing film movement despite the historical absence of a unified Asian continental past based on a shared definition of what constitutes “Asia” be it via political, religious, linguistic, ethnic, or cultural unity. Instead of merely replicating what has already been accomplished by European art cinema, New Latin American cinema, or Pan-African cinema, perhaps Poly-Asian cinema could create a continental consciousness through which the seventh art advances a cinema of enlightenment.
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Filmography
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Afrique sur Seine. Directed by Paulin Soumanou Vieyra. 1955.
Antonio das Mortes (O Dragão de Maldede contra o Santo Guerreiro). Directed by Glauber Rocha. 1969.
The Asphalt Jungle. Directed by John Huston. 1950.
The Battle of Chile: Part I (La batalla de Chile: La lucha de un pueblo sin armas—). Directed by Patricio Guzmán. 1975.
The Battle of Chile: Part II (La batalla de Chile: La lucha de un pueblo sin armas—Segundo parte: El golpe de estado). Directed by Patricio Guzmán. 1976.
The Battle of Chile: Part III (La batalla de Chile: La lucha de un pueblo sin armas—Tercera parte: El poder popular). Directed by Patricio Guzmán. 1979.
Battleship Potemkin. Directed by Sergei Eisenstein. 1925.
Black Orpheus. Directed by Marcel Camus. 1959.
Blow-Up. Directed by Michelangelo Antonioni. 1966.
Butch Cassidy and the Sundance Kid. Directed by George Roy Hill. 1969.
Ceddo. Directed by Ousmane Sembène. 1977.
C’était il y a quatre ans [It Was Four Years Ago]. Directed by Paulin Soumanou Vieyra. 1954.
The Chinese Connection (精武門, Jīng Wŭ Mén, Fist of Fury). Directed by Lo Wei. 1972.
Citizen Kane. Directed by Orson Welles. 1941.
Contempt (Le mépris). Directed by Jean-Luc Godard. 1963.
Emitaï. Directed by Ousmane Sembène. 1971.
En résidence surveillée [House Arrest]. Directed by Paulin Soumanou Vieyra. 1981.
Fahrenheit 451. Directed by François Truffault. 1966.
The 400 Blows (Les quatre cents coups). Directed by François Truffaut. 1959.
The Hour of the Furnaces (La hora de los hornos: Notas y testimonios sobre el neocolonialismo, la violencia y la liberación). Directed by Octavio Getino and Fernando E. Solanas. 1968.
Last Tango in Paris. Directed by Bernardo Bertolucci. 1972.
Mandabi. Directed by Ousmane Sembène. 1968.
Obaltan (오발탄, 誤發彈, Aimless Bullet, The Stray Bullet). Directed by Yu Hyun- mok. 1961.
Sindiély. Directed by Paulin Soumanou Vieyra. 1965.
Tokyo Story (Tôkyô monogatari). Directed by Yasujirô Ozu. 1953.
A Touch of Sin (天注定, Tiān zhù dìng). Directed by Jia Zhangke. 2013.
Xala. Directed by Ousmane Sembène. 1974.
Acknowledgements
I wish to thank Robert Cagle, Heo Chul, Dina Iordanova, Anne Magnan-Park, Gina Marchetti, Aboubakar Sanogo, See Kam Tan, and Kasey Man Man Wong for their support and comments on earlier versions of this chapter.
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Magnan-Park, A.H.J. (2018). The Desire for a Poly-Asian Continental Film Movement. In: Magnan-Park, A., Marchetti, G., Tan, S. (eds) The Palgrave Handbook of Asian Cinema. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-349-95822-1_2
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