The field of Asian feminist media studies is inchoate and under-defined. Despite increasing archival endeavors to excavate women's work in early to mid-twentieth-century film and media cultures in Asia and continuous scholarly attention to the accomplishments of contemporary Asian women film and media makers, a concerted, in-depth reexamination of women's media work in different parts of Asia has been lacking. This has to do with fundamental difficulties in cognitively mapping the field—difficulties stemming from multifarious modes of practice that resist generalization, limited availability of primary and archival materials, and continuous anxiety with universalized Western critical discourses. These are further compounded by the complex and shifting parameters of what counts as “Asia,” given its mind-boggling linguistic, religious, historical, and regional diversity, and its constantly shifting gender and ethnic politics—all unfolding in relation to divergent yet more or less shared colonial experiences and postcolonial participation in (or resistance to) globalization. That is to say, every word in the field designation “Asian feminist media,” comes loaded with both overdetermined and under-determined significations, such that any attempt to develop one-size-fits-all narratives would be not only impossible but also misdirected. With this special issue (five articles and one interview), our collective goal is to tentatively map a critical understanding of Asian feminist media authorship, including its formation, articulation, self-reflection, reconstruction, and ramifications. We stress this authorship as stemming from multiple intersections—in situated geopolitics (both intra-Asian and between Asia and what is conventionally seen as non-Asia), in theoretical assemblage (resulting from the clash with Western theoretical hegemony), in historical and sociopolitical constructions of gender identity (in relation to national, regional, racial and ethnic, and other dimensions of identities), in intermedial exploration (encompassing film, television, and video), and finally in institutional infrastructure (including the practitioners' education, multichannel fund-raising, polylocal production, and transnational exhibition). I unpack these intersections …