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, Bruce Lee, Hong Kong and Turkish cinema, Hindi melodramas, Godzilla films, Taiwanese directors, and Fifth Generation Chinese cinema) and uses them to investigate the limitations of Anglo-U.S. theoretical models and critical paradigms. By engaging readers with familiar areas of critical discourse (such as postcolonial criticism, national cinema, genre, authorship, and stardom) the book aims to introduce within such contexts the unfamiliar case studies that will be explored in depth and detail.