At the intersection of global and feminist film studies and decolonial perspectives, this book reframes cinema history through a decentred lens. Drawing on partial and situated knowledges, it challenges canonical narratives and interrogates how archival and textual regimes have shaped historiography from positions of privilege. Bringing together case studies from Latin America, Europe, Sub-Saharan Africa, the Middle East and Southeast Asia, it reveals asymmetrical transnational circuits, situated reception practices and the material infrastructures of film circulation.Through a bold feminist and decolonial framework, the collection examines how colonial and imperial power relations structure film cultures. It shifts attention from singular authorship toward non-commercial exhibition, itinerant practices and vernacular spectatorship — including set design, audience memory, fandom, and situated voices that shaped film fan magazines. The chapters map how political and cultural agents shape production, circulation and reception across global cinema networks.
