Ainamar Clariana Rodagut is a Lecturer in the Department of Philology and Communication at the Universitat de Lleida. Her work examines cinema as a social and political field, addressing symbolic value production, cultural transfer, and structural inequalities. Diana Roig-Sanz is an ICREA Full Professor at UOC, Barcelona. Her research deals with global and sociological approaches to translation, literary and film history, and applies digital humanities, gender perspectives, and a decolonial approach to the circulation of small, minor, and less-translated cultures. Stefanie Van de Peer is Reader in Film & Media at Queen Margaret University. She has published Negotiating Dissidence (EUP 2017), Women in African Cinema (Routledge 2020) and ReFocus: The Films of Annemarie Jacir (EUP 2023). She has also edited several edited collections on diverse topics including Jocelyne Saab’s work, Arab Stardom and Global Feminist Film Archives. She sits on the Executive Committee of the British Association of Film, TV and Screen Studies, is series editor for EUP’s ReFocus: The International Directors series, and is associate editor for the journal Studies in World Cinema.

• Introduction: Global and Feminist Perspectives on Cinema HistoryAinamar Clariana-Rodagut, Stefanie Van de Peer and Diana Roig-SanzPart I. Emergent Circulations: Materials, Practices, Spaces1. Defying the Patriarchal, Capitalist and Imperialist Paradigm in Iberian Feminist Film HistoriographyElena Cordero Hoyo2. Uncovering Travelling Cinema Exhibitors (and their Spouses) in Mid-20th Century Rural France: For a Geo-social Approach of Cinema HistoryCaroline Damiens3. Fashioning the Nation: Interior Design and Identity in 1950s Egyptian CinemaDina Abdelhafez4. The Contested Role of Susuz Yaz: Between Authenticity and OrientalismSelin Yagci, Natàlia Cantó-MilàPart II. Cinema, Modernity and the Politics of Reception5. "Makambo Ya Bango": Conceptions and Receptions of Belgian Colonial Missionary Film in Congo, Rwanda and BurundiJonas Van Mulder 6. Chinese, Malay, and English-Language Reception of Early Cinema in MalayaMario Slugan, Ata’ Hanifee, Weijia Zeng7. Historical Audiences and Film Exhibition in Chile: Local and Transnational Connections (1930s-1960s)María Paz Peirano and Claudia Bossay8. Berretines modernos: Gender, spaces, and memories of moviegoing in Buenos Aires (1930s–1950s)Alejandro Kelly-Hopfenblatt9. “A Failure to Atone for Past Misdeeds": White American Nationalism in Gene Gauntier and Sidney Olcott’s “Sunny South Releases”David MortonPart III. Stories of Femininity in Film Magazines10. What’s (not) in a Name? Female Voices, Pseudonyms and Cinema Magazines in the Rio de la PlataGeorgina Torello 11. Film Cultures and Cinephilia in Popular Film (1926-1937): Gendered PerspectivesMarta García Carrión, Elena Solbes Borja12. “Come Forth, Woman, Flower of the Nation”: Female Fans and the Malay Film Magazine, 1960–1963Agata Frymus

Ainamar Clariana Rodagut is a Lecturer in the Department of Philology and Communication at the Universitat de Lleida. Her work examines cinema as a social and political field, addressing symbolic value production, cultural transfer, and structural inequalities. Diana Roig-Sanz is an ICREA Full Professor at UOC, Barcelona. Her research deals with global and sociological approaches to translation, literary and film history, and applies digital humanities, gender perspectives, and a decolonial approach to the circulation of small, minor, and less-translated cultures. Stefanie Van de Peer is Reader in Film & Media at Queen Margaret University. She has published Negotiating Dissidence (EUP 2017), Women in African Cinema (Routledge 2020) and ReFocus: The Films of Annemarie Jacir (EUP 2023). She has also edited several edited collections on diverse topics including Jocelyne Saab’s work, Arab Stardom and Global Feminist Film Archives. She sits on the Executive Committee of the British Association of Film, TV and Screen Studies, is series editor for EUP’s ReFocus: The International Directors series, and is associate editor for the journal Studies in World Cinema.

• Introduction: Global and Feminist Perspectives on Cinema HistoryAinamar Clariana-Rodagut, Stefanie Van de Peer and Diana Roig-SanzPart I. Emergent Circulations: Materials, Practices, Spaces1. Defying the Patriarchal, Capitalist and Imperialist Paradigm in Iberian Feminist Film HistoriographyElena Cordero Hoyo2. Uncovering Travelling Cinema Exhibitors (and their Spouses) in Mid-20th Century Rural France: For a Geo-social Approach of Cinema HistoryCaroline Damiens3. Fashioning the Nation: Interior Design and Identity in 1950s Egyptian CinemaDina Abdelhafez4. The Contested Role of Susuz Yaz: Between Authenticity and OrientalismSelin Yagci, Natàlia Cantó-MilàPart II. Cinema, Modernity and the Politics of Reception5. "Makambo Ya Bango": Conceptions and Receptions of Belgian Colonial Missionary Film in Congo, Rwanda and BurundiJonas Van Mulder 6. Chinese, Malay, and English-Language Reception of Early Cinema in MalayaMario Slugan, Ata’ Hanifee, Weijia Zeng7. Historical Audiences and Film Exhibition in Chile: Local and Transnational Connections (1930s-1960s)María Paz Peirano and Claudia Bossay8. Berretines modernos: Gender, spaces, and memories of moviegoing in Buenos Aires (1930s–1950s)Alejandro Kelly-Hopfenblatt9. “A Failure to Atone for Past Misdeeds": White American Nationalism in Gene Gauntier and Sidney Olcott’s “Sunny South Releases”David MortonPart III. Stories of Femininity in Film Magazines10. What’s (not) in a Name? Female Voices, Pseudonyms and Cinema Magazines in the Rio de la PlataGeorgina Torello 11. Film Cultures and Cinephilia in Popular Film (1926-1937): Gendered PerspectivesMarta García Carrión, Elena Solbes Borja12. “Come Forth, Woman, Flower of the Nation”: Female Fans and the Malay Film Magazine, 1960–1963Agata Frymus