The West's current fascination with Asian cinema must be viewed in the context of a complex and often problematic relationship between Western scholars, students, viewers, and Asian films. This book examines a number of detailed case studies (such as the films of Ozu, Hong Kong and Turkish cinema, Hindi melodramas, Godzilla films, and Fifth Generation Chinese cinema) and uses them to investigate the limitations of Anglo-U.S. theoretical models and critical paradigms.