by John A. Lent
The credibility of historical research often suffers from inaccurate
retellings, usually by individuals not present at the events being reported upon;
lapsed memories (sometimes associated with age), and prejudices on the part
of the recorder of such events.
Recently, there were erroneous statements made about the founding of
Asian Cinema Studies Society and what later became Asian Cinema. Let the
record show that the founder of ACSS was Mira Reym Binford of Quinnipiac
College, Hamden, CT. She used two venues to solicit interest in the society
the annual meetings of the Association for Asian Studies and the Society for
Cinema Studies. Confusion as to those involved at the beginning, besides
Mira, probably set in because the same people did not necessarily attend
both conferences. However, in the first issue of Asian Cinema Studies Society
Newsletter, Mira made it clear that ACSS was started at the annual meeting
of AAS in 1984, “for the purpose of encouraging academic study and general
awareness of the cinemas of Asia” (Fig. 1).
On occasion, I had asked Mira to write about the founding of ACSS, but, so
far, she has not obliged us. Thus, in this history, I depend heavily on the issues
of the Newsletter as my source, especially Mira’s “From the Editor” column,
usually on the front page. I also use my own notes and what I remember. To
make the history more complete, I hope some of the others associated with
ACSS and the Newsletter in the beginning will share their notes and memories
in subsequent issues of Asian Cinema.
I was present at the meeting Mira set up at the AAS conference in 1984.
As I recall, we were only a handful at that and the next ACSS meeting dur-
ing an AAS conference. I don’t know when ACSS met for the first time at
a Society for Cinema Studies conference. The first such meeting reported in
the initial issue of the Newsletter, was to be held at New York University on
June 12, 1985. Later, Mira wrote that an ACSS roundtable on “Research Di-
rections for Asian Cinema Studies,” chaired by Mira, at the NYU conference
was “well attended.”
At times in 1984-1985, Mira called to get my ideas about setting up a
periodical; at the time, I was editing the newsletter Berita, the organ of the
Malaysia/Singapore/Brunei Studies Group of AAS. (I had founded both Berita
and the M/S/B Studies Group in 1975 and 1976, respectively.) I shared with
her the way I ran Berita and its contents (mainly lists of books, periodicals,
articles, other resources available, news, and occasional articles).
In Spring 1985, Mira launched the Newsletter. The first issue of eight
pages (including a one-page questionnaire and a back page with mailing infor-
mation), carried no date, but did promise to appear twice yearly. The subheads
of sections were also those of Berita editor’s note, forthcoming publications,
coming events, unpublished papers, recent publications, and other news. Mira,
in the first Newsletter, thanked Gina Marchetti, Chris Berry, as well as David
Desser, Luis Francia, and me for our help.
The questionnaire used in the first and next few issues brought what
Mira wrote, “a substantial and gratifying response.” The second Newsletter
issue differed little from the previous one in size (8 pages) and contents. In
it, Mira discussed the ACSS gathering at SCS in June 1985, where organi-
zational and financial matters were on the agenda. Some items reported or
agreed upon were: a mailing list of more than 300 Asian cinema researchers
and enthusiasts had already been compiled; dues were set at $15 for institu-
tions, $8 for “regular members,” and $5 for students; future goals should be
to include more Asian cinema panels at existing film conferences and those of
Asian studies, and to seek funding. The second Newsletter carried the names
of the first ACSS steering committee; coordinator and Newsletter editor, Mira
Binford; treasurer, David Desser; research and conference coordinator, Gina
Marchetti; membership secretary, Madeline Chu; film distribution research
coordinator, Kathe Geist; liaison for Asian-American cinema, Ramon Hodel;
liaison for West Asian cinema, Jamsheed Akrami, and liaison for professional
organizations, Mira Binford.
An upbeat mood pervaded the editor’s report in Vol. II, No. 1 (Spring 1986)
of the Newsletter, where Mira said, “We are delighted with the enthusiasm
for the newsletter and the growing number of active participants in our other
activities.” ACSS met again in 1986 at SCS, including a business meeting,
a roundtable for “the exchange of current research on Asian cinema,” and
panels on India (Mira Binford), People’s Republic of China (Nick Browne),
and Japan (David Desser and Kathe Geist. Newsletter staff changes were:
Brian Shoesmith appointed as Australia correspondent, Jerome Delamater as
co-editor of book reviews, and John A. Lent as liaison to professional orga-
nizations. The masthead was called “ACSS Workers.” (Mira must have been
peeved that others of us were not working hard enough.) The “workers” of
this 12-page number were Mira as editor-in-chief, Gina Marchetti as research
editor, Kathe Geist as distribution editor, and Joe Olson and Jan Esposito as
word processors. Increasingly, there was concern about the lack of funding,
although, by 1986, seed money had been granted to ACSS from the South Asia
Council and Northeast Asia Council of AAS and from SCS.
In Vol. II, No. 2 (Fall 1986) of the Newsletter, the editor praised the sub-
scription drive, which had gotten off to a “good start,” showed her pleasure
that ACSS was meeting its goal of being “genuinely international,” and an-
nounced plans to compile a “Resource Directory for Asian Cinema Studies.”
ACSS in 1987 was active with meetings in conjunction with AAS (Boston,
April 10-12) and SCS (Montreal, May 21-24). At AAS, an “Asian Cinema
Studies Society Research Roundtable,” followed by a cash bar, was held.
(See III: 1 of the Newsletter for abstracts of roundtable presentations by Luis
Francia, George Semsel, Karl Heider, Raoul Kulberg, and Carol Appadurai
Breckenridge.) At SCS, a business meeting and a roundtable, on “Asian Cin-
ema Narrative/Non-Narrative,” took place. (See full report on the roundtable
presentations by Gina Marchetti, David Desser, George Semsel, and Xie Fei
in III: 1 of the Newsletter.) Also in 1987, work progressed on the “Resource
Guide,” and a call for papers was issued for the First Asian Cinema Conference,
scheduled for Oct. 6-8, 1988, in Athens, Ohio. Assigned to chair panels and
workshops were: Maureen Turim, John A. Lent, Mira Binford, Scott Nygren,
Wimal Dissanayake, Manji Pendakur, Chuck Kleinhans, David Desser, Michael
Jeck, and Kathe Geist.
The above-mentioned First Asian Cinema Conference (Athens, Ohio,
Oct. 6-8) was the highlight of 1988, for it was the first time faculty and stu-
dents from the AAS and SCS strands and others interested in Asian cinema
gathered under the ACSS banner. More than 70 individuals participated.
Special guests who spoke and/or showed their films were filmmakers Nagisa
Oshima, Christine Choy, and Thomas Waugh. (Reports on the presentations
were written by Maureen Turim in IV: 1/2 [1988-1989] and by David Desser,
Patricia Erens, Kevin Jack Hagopian, Gina Marchetti, and Scott Nygren in
VI: 1 [1990].) Commenting on the conference, Nygren wrote, “During three
days last October, a remarkable convergence of Asian cinema scholars and
filmmakers took place in the rural hills of southern Ohio.”
Earlier in 1988, as had become usual, roundtables and panels on Asian
cinema organized by ACSS appeared on the programs of AAS (San Francisco,
March 25-27) and SCS (Bozeman, Montana, June 29-July 3). What was be-
coming abundantly clear was the accelerated growth of conferences, papers,
periodicals, and books dealing with cinemas of Asia.
The newsletter made a number of changes at about this time. With Vol. III,
No. 2 (1988), the name was shortened to Asian Cinema (see Fig. 2), the number
of pages doubled to 24, the addition of an advisory board (Joseph Anderson,
J. Dudley Andrew, David Bordwell, Nick Browne, Allan Casebier, Chen Mei,
Cheng Jihua, Christine Choy, Li Cheuk-to, Tony Rayns, Donald Richie, and
Donald Staples) further structured the association, and photographs and brief
articles were introduced. The first articles were by Chris Berry, reviewing his
three-year stint in China; John A. Lent, reporting on Southeast Asia film educa-
tion and training, and Allan Casebier, talking about teaching culture by its films.
Computer problems delayed issuance of the next Asian Cinema, prompt-
ing the publication of an expanded (52 pp.) double number (IV: 1 and 2,
1988/1989) (see Fig. 3). As Mira wrote, Asian Cinema now included “longer
articles, reviews, and new sections, as well as expanded coverage of recent
publications, distribution sources, exhibitions, and coming events.” Other
improvements were the establishment of more international ACSS chapters
(Australia, Japan, Canada, and Philippines) and the adding of more sections
to Asian Cinema. Sections in IV: 1 and 2 were “Articles,” “Pedagogy,” “Re-
views,” “Commentary,” “Conference/Panel Reports,” “Correspondence,”
“Publications,” “Conferences,” “Film Exhibitions/Lectures,” “Special Events,”
“Calls for Papers,” “Distribution Sources,” “Notes on People,” “In Memoriam,”
“Queries,” “Other News.” The articles were “Women and Their Role in the
Philippine Movie Industry” by Nick Deocampo, “Reviewing Asian Cinema”
by Pat Aufderheide, and “Teaching Japanese Films in the High School,” by
Alan Chalk. The commentary was offered by several people weighing in on
the June 4, 1989 disturbances in Beijing, and on Chinese cinema, the latter
by Paul Clark.
The second Asian cinema conference (actually called the First ACSS
[Australia] Conference) was held at La Trobe University in Melbourne in
July 1990. Arranged primarily by Chris Berry, the conference hosted 90 reg-
istered participants; 35 papers or workshops were presented by scholars from
11 countries. Special guests were Nick Deocampo (Philippines), Chidananda
Das Gupta (India), Gotot Prakosa (Indonesia), and Huang Jianxin (China).
The two numbers of Asian Cinema for 1990 (Vol. V, Nos. 1, 2) showed
even more changes as the original newsletter continued to change on its way
to becoming a magazine, and then, a journal. With V: 1, Asian Cinema began
to print on white, rather than yellow or orange, paper and used a full-page il-
lustration on the cover (see Fig. 4). The 36 pages included three short articles
by Carol Slingo (on Malayalam film), Amy Heller on distributing new Chinese
cinema, and Chiao Hsiung-ping on the emergence of the new cinema of Taiwan.
The second number of Asian Cinema in 1990 consisted of 52 pages with
articles by John Caldwell (on the Indian video Women’s Movements), Cynthia
Contreras (on Masahiro Shinoda), Linda C. Ehrlich (on Thai cinema), and Akira
Tochigi (on the Americanization of the Japanese film industry). In 1990, Gina
Marchetti stepped down as research editor, a position she held from the start.
New correspondents joined the staff, hailing from France (Régis Bergeron),
Sri Lanka (Laleen Jayamanne), and Thailand (Saman Ngamsnit) (see Figs. 5a,
5b). Michael Denison represented Germany. Mira explained in the Fall issue,
“As the field of Asian cinema studies expands, and we continue to broaden the
scope of our coverage, rising printing costs lead us to carry certain features
only in alternate issues.”
The next four years were trying times for ACSS and Asian Cinema, in-
dicated by Linda C. Erhlich in the only issue published during that time (VI:
Nos. 1 and 2 [1992]). Linda wrote:
Editorial Note:
The Asian Cinema Studies Society has arrived at a crossroad. Many of the original coor-
dinators have stepped down after years of service. An Executive Council has been formed, but it
is difficult, if not impossible, for everyone to meet at any one time.
New volunteers are needed for the following general areas of responsibility: conference
preparation and coordination, grantwriting, and help with the journal Asian Cinema. In addition,
a new Secretary-Treasurer is needed. Stephan Prince has served as the main contact person for
ACSS for the last two years, and it is now time to rotate that position. If you are willing to work
in any of the areas listed above, please contact Stephan Prince at Virginia Polytechnic University,
Department of Communications, 11 Agnew Hall, Balcksburg, VA 24061.
Fortunately, Ohio University has offered to serve as the production center of Asian Cinema.
This current issue is the first one after more than a year’s hiatus. Hopefully, with an influx of sup-
port for the operations of ACSS, this issue of Asian Cinema will not be the last.
As Mira Binford edged out of the leadership roles to devote more time
to making a documentary film, concern mounted concerning the continuance
of ACSS and Asian Cinema (see Figs. 6a, 6b. Minutes of ACSS at SCS, Los
Angeles, May 24, 1991, and Minutes of the ACSS Executive Council, New
York, June 11, 1992). New names appeared on the ACSS Executive Council
(but without that of Mira Binford) and Asian Cinema. Three editors shared
the top position (Mira Binford, Linda Erhlich, and Jenny K. W. Lau), and the
place of publication was moved to Ohio University (Fig. 7).
The ACSS conference in New York (June 1992) also faced some problems,
with “many cancellations, substitutions, and last-minute rescheduling,” but
according to those who reported on the event, “conference goers were able to
choose from a rich variety of panels and workshops….” Broad topics under
which most panels fit were politics and its relationship to culture, popular
culture, gender and sexuality, and genre.
From 1992-late 1994, ACSS was not active, though some individuals tried
to keep it and Asian Cinema alive. (See the list of these individuals in Figs. 8a
and 8b, my introductory column of Vol. 7, No. 1 of Asian Cinema.) Sometime
in 1994, Cynthia Contreras sent out a letter calling for a response from those
who might be interested in chairing ACSS and/or editing Asian Cinema. I
responded and was approved for both positions at the business meeting of
ACSS in Athens, Ohio, Nov. 5, 1994. (See Fig. 9, the cover of the first issue I
edited, and Fig. 10, the minutes of the Nov. 5, 1994 meeting.)
In the next issue of Asian Cinema, I will continue the history of the
Asian Cinema Studies Society and Asian Cinema through my 17-year
stewardship as chair and editor-in-chief, respectively, discussing highlights
and changes in the journal, and the ACSS conferences in Peterborough,
Canada, Norman, Oklahoma, Jeonju, Korea, Seattle, Washington, and
Beijing/Shanghai, China. I will also include any additions to this history
provided by pioneers in ACSS and Asian Cinema.
6 Fig. 1. Front page of the first issue of Asian Cinema Studies Society Newsletter. Spring 1985.
7 Fig. 2. Front page of the overhauled newsletter with name change and illustration. Vol. III, No.
2 (1988).
8 Fig. 3. Double issue of Asian Cinema (IV: 1 and 2, 1988/1989), with front cover photograph of
Nagisa Oshima addressing participants at the first Asian Cinema Conference.
9 Fig. 4. Cover of VI: 1 and 2 Asian Cinema with even another new look.
10 Fig. 5a. The growing masthead of Asian Cinema evidenced in V: 1.
11 Fig. 5b. The growing masthead of Asian Cinema evidenced in V: 1.
12 Fig. 6a. Minutes of ACSS meetings in 1991-1992 concerning the future of the organization and periodical.
13 Fig. 6b. Minutes of ACSS meetings in 1991-1992 concerning the future of the organization and periodical.
14 Fig. 7. Three editors shared top position of Asian Cinema, VI: 1 and 2.
15 Fig. 9. Cover of Asian Cinema. Vol. 7, No. 1 (Spring 1995).
16 Fig. 8a. Introductory column, “Alive and Kicking,” in first issue under John A. Lent’s editorship.
17 Fig. 8b. Introductory column, “Alive and Kicking,” in first issue under John A. Lent’s editorship.
18 Fig. 10a. Minutes, ACSS, Athens, Ohio, Nov. 5, 1994.
19 Fig. 10b. Minutes, ACSS, Athens, Ohio, Nov. 5, 1994.
Source: IngentaConnect
Image credits:http://thehardcast.com/AsianCinema.jpg
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