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Chronicle of a Genocide Foretold is a powerful account of one of the most devastating human crises of the 21st century. Drawing on firsthand research conducted in Burma (Myanmar) and neighboring countries, the book uncovers how the Rohingya Muslims have been systematically isolated, impoverished, and targeted in a state-led genocidal campaign. Through more than 150 interviews with survivors, local officials, religious leaders, and international actors, the authors reveal how discrimination, mass displacement, and organized brutality have created conditions that meet the legal, criminological, and moral definition of genocide. The book also challenges the silence and complicity of the international community. Accessible and grounded in rigorous research, this book speaks to scholars, activists, policymakers, and anyone concerned with justice, human rights, and the global failure to prevent genocide.

In early twentieth-century Shanghai, cinema was more than entertainment—it reshaped the city itself. As movie theaters appealed to city dwellers of all backgrounds, colonial authorities struggled to manage this new public space and introduced new safety rules, censorship, and anti-crime measures. Movie theaters unintentionally brought the unofficial way of racial segregation to an end. Moreover, imported films, though emblematic of Western modernity, paradoxically eroded the myth of Western civilizational superiority. These films revealed social ills in Euro-American societies, exposed Hollywood’s racist depictions of Chinese people, and galvanized anti-imperialist and nationalist sentiments among local audiences.

Cinema and the Cosmopolitan City adopts a “cinema off-screen” approach—stitching together urban history and film studies and foregrounding circulation, consumption, and spatial practice. Qiliang He draws on municipal archives, police records, censorship reports, trade journals, film reviews, and news stories to reconstruct the regulatory regimes imposed by the Shanghai Municipal Council and Shanghai Municipal Police, which was targeting both Bolshevism and “immoral” content. This book reveals how cinema didn’t just reflect modern life—it actively changed urban governance, fueled anticolonial feelings, and linked cosmopolitan culture with rising nationalism in China.

Cold War and Sinophone Culture at the Borders examines Sinophone literary and cultural production in relation to the politics of the global Cold War and decolonization in Hong Kong, Singapore, and Malaysia. As we reckon with the historical and contemporary geopolitical standoffs in the Cold War–divided territories, Shuang Shen draws attention to the diasporic communities outside Chinese sovereign territories and shows that these supposedly peripheral locations were in fact significant cultural and political hot spots. 

Shen demonstrates how Cold War borders exerted geo-power over strategic hot spots, organized global flows of populations and cultures, hardened the boundaries of aesthetic debates, and managed interracial relationships and plurilingual exchange. The multifold bordering effect in turn complicates the common perception of the border as a mechanism of territorial division. Cold War and Sinophone Culture at the Borders proposes that a critical examination of borders—not just territorial divisions, but also social, political, and aesthetic boundaries––can tap into different structures of power without needing to incorporate them into a single binary framework of the metropole versus colony.

Explores the circumstances and elements that make for a successful Southeast Asian entrepôt.

What made modern Singapore and fifteenth-century Malacca so exceptional in their success in trade, and why did so many other attempts fail to coalesce? Coming Together recasts the founding of modern Singapore as the culmination of a long tradition of alliance-building within the “straits and peninsula,” that sliver of maritime Southeast Asia that connects the Indian Ocean with the China Seas. From abortive Franco-Siamese projects in the 1680s, through lonely failure at Poulo Condor and stubborn frustration on the Burmese “Eastern Coast,” to the persistent enterprise of Bugis and Malay rulers during the 1770s and 1780s, Coming Together follows an evolving cast of princes, captains, merchants, and missionaries drawn together by a powerful idea: that the trade of Asia could be concentrated at a single and wildly prosperous place.

Long-neglected French archival materials illuminate events long distorted by colonial historiography, revealing the entrepôt as a transcultural project sustained by tributary diplomacy, treaty-making, and the pragmatic exchange of protection for commercial privilege. The result is a fundamental reinterpretation of the origins of Penang and Singapore—and of the alliance-building that lies at the core of modern Singapore.

An examination of how the legal doctrine of command responsibility was applied during military tribunals for Japanese war criminals, often inconsistently and ineffectively.

Between 1945 and 1951, the Allied powers prosecuted over 5,700 suspected Japanese war criminals across the Asia-Pacific region before one international and many national tribunals using a new legal doctrine known as command responsibility. Command responsibility holds officers criminally liable for the crimes of their subordinates even if they did not order the crimes to occur. Allied authorities believed that the structure of the Japanese military had allowed the crimes to occur and that pursuing guilt for war crimes should extend beyond enlisted soldiers who were the direct perpetrators of war crimes to those who had been in a position of command.

Command on Trial shows that the application of command responsibility in the courtroom was highly unstable and open to manipulation, especially in the trials of lower-ranking officers, resulting in outcomes that were legally, morally, and philosophically inconsistent. A clear illustration of the pitfalls of command responsibility, this book shows that the trials—and command responsibility—did not achieve comprehensive justice and left unanswered the question of who was actually responsible for many of the war crimes that were perpetrated.

Bollywood movies have been long known for their colorful song-and-dance numbers and knack for combining drama, comedy, action-adventure, and music. But when India entered the global marketplace in the early 1990s, its film industry transformed radically. Production and distribution of films became regulated, advertising and marketing created a largely middle-class audience, and films began to fit into genres like science fiction and horror. In this bold study of what she names New Bollywood, Sangita Gopal contends that the key to understanding these changes is to analyze films’ evolving treatment of romantic relationships.

China is a multicultural country home to fifty-five ethnic minority groups, yet due to linguistic and cultural barriers many of these groups remain understudied or unknown in the West. The Qiang, one of modern China’s officially recognized ethnic minorities, is also China’s longest-standing ethnoracial identity marker that has existed since the earliest recorded history of China. Creative Belonging investigates the formation and evolution of the Qiang as a people, a concept, and a cultural history in China. It further examines how the contemporary Qiang ethnic group interacts strategically with mainstream Chinese society, challenging the historically entrenched hierarchies between the sociocultural “centers” of China and its ethnic “peripheries.” 

This book is based on years of ethnographic and textual-archival research in the Himalayan regions of southwest China, where the contemporary Qiang group resides. Drawing on a diverse range of official and local political discourses and previously unstudied literary, historiographical, and cinematic works, Yanshuo Zhang illuminates how the Qiang have carved out spaces of “creative belonging” within the parameters of multiculturalism in contemporary China. Rooted in ethnographic and textual-archival research, the book presents original materials produced by Qiang indigenous writers, scholars, artists, grassroots village cultural activists, and entrepreneurs at both the local and the global levels. Creative Belonging invites readers to rethink ethnicity and national belonging in China by centering minority groups’ efforts to expand the meanings and implications of “Chinese culture.” 

Examines the cultural consequences of slave-gathering warfare.

Long-distance slave-gathering warfare reshuffled the populations of mainland Southeast Asia between the eighteenth and nineteenth centuries. In this lightly populated region, people were power, and warfare between kingdoms was dedicated to the enslavement and forced relocation of defeated peoples. In the Southeast Asian context, war slaves were often valued and exploited for native talents and knowledge. In Upper Burma, for example, captured artisans, performers, pundits, weavers, and elephant trainers were made the king’s property and incorporated into a vast and tightly organized force of coerced laborers.

The enslaved became critical agents in the transmission of artistic practices, knowledge, religious beliefs, and exotic skills and talents. Using the concept of creolization as a conceptual anchor, Creole Kingdoms offers new insights into the many ways that war slaves and their descendants creatively built, popularized, and consolidated cultural practices across the cosmopolitan kingdoms of mainland Southeast Asia.

Creole Kingdoms opens up new terrain for both future generations of Southeast Asian scholars and general readers from the mainland who want to explore the cultural history of their home.