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China and the Environment
Policy makers shape the political landscape while media artists capture the natural and industrial panorama of China through a critical lens.

Extra Lives: Intersections of Video Games and Film
Four gamers/filmmakers/artists nerd out and debate whether or not the field has yet to see its CITIZEN KANE of video games.

On Asian/American Aesthetics
David Henry Hwang and Wayne Wang parley whether or not "passive aggression" can be considered an aesthetic, regardless of what their therapists have to say about it.

One On One with Jessica Yu
Yes, she admits, she can be a bit obsessive about her projects—documentary films are her passion—but, no, she's definitely not an egoist. Hear more.

By Jaeah J. Lee

In the last year, three films have helped us better understand the repercussions of China’s speedy development. STILL LIFE, UP THE YANGTZE, and MANUFACTURED LANDSCAPES provide three different lenses to observe the devastation that China’s industrial mega projects have brought upon the nation’s population and natural environment.

Our Cheese: Taking Back The Karaoke Video

By Raina Lee

When you mention karaoke, the first thing that comes to mind is not just the singing and the drunkenness. It’s the ghastly reaction to the visuals. The karaoke video: the D-list actors, the sepia-toned interpretive dance, the overdramatic storylines of a romance, fight, and reconciliation. If it's even more cheaply made: Asian girls strolling along a coastline while holding hands, a practice not at all interpreted as lesbian in Asia.

The Asian American International Film Festival is located in an iconic city of mythic proportions; a backdrop for countless films, its image resonates in the minds of people all over the world. Woody Allen’s film, MANHATTAN says it all with its opening lines:

By Julia Kim

In the 80 years of Academy Awards history only three women filmmakers have been nominated for best director award for a feature film (Lina Wertmuller in 1977, Jane Campion in 1994, and Sofia Coppola in 2004). According to the 2007 celluloid ceiling report, women comprised six percent of all directors working on the top 250 films of 2007, a decline of one percentage point since 2006. This figure is almost half the percentage of women directors working in 2000 when women accounted for eleven percent of all directors.