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13. The Boonchu Comedy Series. Pre-1990s Thai Localism and Modernity 13. 本秋喜剧系列。20世纪90年代前的泰国本土主义与现代性
Southeast Asia on Screen Pub Date : 2020-12-31 DOI: 10.1515/9789048541904-018
S. Khuankaew
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引用次数: 0
8. Ratana Pestonji and Santi Vina. Exploring the ‘Master’ of Thai Cinema during Thailand’s ‘American Era’ 8. Ratana Pestonji和Santi Vina。探索泰国“美国时代”的“大师”
Southeast Asia on Screen Pub Date : 2020-12-31 DOI: 10.1515/9789048541904-012
Mary J. Ainslie
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引用次数: 0
List of Illustrations 插图一览表
Southeast Asia on Screen Pub Date : 2020-12-31 DOI: 10.1515/9789048541904-001
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引用次数: 0
3. Pearl Tears on the Silver Screen. War Movies and Expanding Burmese Militarism in the Early Independence Years 3.《银幕上的珍珠泪》战争电影与缅甸独立初期军国主义的扩张
Southeast Asia on Screen Pub Date : 2020-12-31 DOI: 10.1515/9789048541904-006
J. Ferguson
{"title":"3. Pearl Tears on the Silver Screen. War Movies and Expanding Burmese Militarism in the Early Independence Years","authors":"J. Ferguson","doi":"10.1515/9789048541904-006","DOIUrl":"https://doi.org/10.1515/9789048541904-006","url":null,"abstract":"The early years of Burmese postcolonial independence (1948) saw a tremen-dous expansion of the Tatmadaw (Burmese Armed Forces) predicated on an ongoing civil war and the Kuomintang ‘incursion’ in the northeastern Shan State. The same years comprised the beginning of the so-called ‘golden age’ of Burmese cinema. Amidst fijilms of various genres, historical fijiction war fijilms glorifying Burmese soldiers and peasants as heroes, and constructing archetypes of enemies to the country’s independence marked an important shift from earlier colonial-era nationalist fijilms which had sought to reclaim Burmese sovereignty by harking back to the grandeur of prior Burmese dynasties. Instead, while war experiences are homogenized and enemies are stereotyped, national heroes were now created as part of a post-independence political milieu.","PeriodicalId":210445,"journal":{"name":"Southeast Asia on Screen","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114842936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
5. Spectacularity of Nationalism. War, Propaganda and Military in Indonesian Cinema during the New Order Era 5. 民族主义的壮观。新秩序时期印尼电影中的战争、宣传与军事
Southeast Asia on Screen Pub Date : 2020-12-31 DOI: 10.1515/9789048541904-008
Budi Irawanto
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引用次数: 0
Gender, Nation and Spatial Mobility in on Top of the Wave, on Top of the Wind 性别，民族和空间流动性在浪尖上，在风的顶端
Southeast Asia on Screen Pub Date : 2020-08-03 DOI: 10.2307/j.ctv15d805m.8
Qui-Ha Hoang Nguyen
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引用次数: 0
Two Auteurs in the Indonesian Cinema of the 1970s and 1980s : Sjuman Djaya and Teguh Karya 上世纪七八十年代印尼电影的两位导演:舒曼·贾亚和特古·卡里亚
Southeast Asia on Screen Pub Date : 2020-08-03 DOI: 10.5117/9789462989344_ch06
D. Hanan, Soehadi Gaston
{"title":"Two Auteurs in the Indonesian Cinema of the 1970s and 1980s : Sjuman Djaya and Teguh Karya","authors":"D. Hanan, Soehadi Gaston","doi":"10.5117/9789462989344_ch06","DOIUrl":"https://doi.org/10.5117/9789462989344_ch06","url":null,"abstract":"This chapter discusses key films by Sjuman Djaya and Teguh Karya, two Indonesian writer-directors who emerged in the early Suharto era of the 1970s. Sjuman Djaya was trained in the Soviet Union, and on his return to Indonesia made films that engaged – in very spirited and original ways – with the popular culture of the poor and with social issues and Indonesian history. Teguh Karya founded a collective that trained young people in theatre arts but quickly branched into filmmaking. His early films were popular romantic melodramas, which established an audience and created major stars. Later, Teguh made a celebrated historical film, addressed poverty and dislocation in the society, the position of women, and even made one political allegory.","PeriodicalId":210445,"journal":{"name":"Southeast Asia on Screen","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114133119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Locating Mike de Leon in Philippine Cinema 迈克·德莱昂在菲律宾电影院的定位
Southeast Asia on Screen Pub Date : 2020-08-03 DOI: 10.2307/j.ctv15d805m.14
Patrick F. Campos
{"title":"Locating Mike de Leon in Philippine Cinema","authors":"Patrick F. Campos","doi":"10.2307/j.ctv15d805m.14","DOIUrl":"https://doi.org/10.2307/j.ctv15d805m.14","url":null,"abstract":"Mike de Leon, whose films helped define the ‘second golden age’ (roughly\u0000 from 1975 to 1984) of Philippine cinema, has been hailed as ‘local cinema’s\u0000 only living film master.’ This essay analyses how the discourse of the\u0000 golden age came about by interpreting the meaning of De Leon’s location\u0000 in this discourse. Tracing the director’s career in chronological fashion, it\u0000 discusses how his films contributed to a progressive nationalist cinema\u0000 during the period of martial law under Marcos but also how they increasingly\u0000 and reflexively interrogated the significance of the golden age in\u0000 the post-Marcos era. Finally, it evaluates the conceptual boundaries of\u0000 the golden age through an appreciation of the trajectory of his cinema\u0000 from 1985 to 1999.","PeriodicalId":210445,"journal":{"name":"Southeast Asia on Screen","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131755332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
7. Hussain Haniff and the Place of the Auteur in Popular Malay Cinema 7. 侯赛因·哈尼夫和导演在马来流行电影中的地位
Southeast Asia on Screen Pub Date : 2020-08-03 DOI: 10.2307/j.ctv15d805m.12
Jonathan Driskell
{"title":"7. Hussain Haniff and the Place of the Auteur in Popular Malay Cinema","authors":"Jonathan Driskell","doi":"10.2307/j.ctv15d805m.12","DOIUrl":"https://doi.org/10.2307/j.ctv15d805m.12","url":null,"abstract":"This chapter re-examines ideas of authorship in the Malay cinema through\u0000 a case study of one of its most prestigious filmmakers, Hussain Haniff. It\u0000 considers the formation of Hussain’s reputation by reviewing the changing\u0000 critical attitudes to his work and discusses his films as instances of\u0000 personal and political expression, but also as contributions to a popular\u0000 entertainment industry. Hussain offered timely explorations of tradition,\u0000 modernity and gender, and used the period’s generic conventions and\u0000 stars to shape his unique visions. By positioning Hussain within the\u0000 broader world of film entertainment, this chapter contributes to a more\u0000 historically grounded perspective on the role played by film directors\u0000 during the golden age of Malay cinema.","PeriodicalId":210445,"journal":{"name":"Southeast Asia on Screen","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133490057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
12. Mapping Regional Ambivalence and Anxieties in They Call Her… Cleopatra Wong 12. 在《他们称她为……埃及艳后·王》中映射地域矛盾和焦虑
Southeast Asia on Screen Pub Date : 2020-08-03 DOI: 10.2307/j.ctv15d805m.18
Sophia Siddique
{"title":"12. Mapping Regional Ambivalence and Anxieties in They Call Her… Cleopatra Wong","authors":"Sophia Siddique","doi":"10.2307/j.ctv15d805m.18","DOIUrl":"https://doi.org/10.2307/j.ctv15d805m.18","url":null,"abstract":"They Call Her… Cleopatra Wong (Bobby A. Suarez, 1978) has been\u0000 contextualized within film scholarship as a transnational text, a cult\u0000 product, a canonical text of exploitation cinema and a key work within\u0000 the Asian spy genre. This chapter argues that the film contributes to the\u0000 ways in which popular culture negotiated political and economic tensions\u0000 surrounding the development and presence of ASEAN since it was founded\u0000 in 1967. One such tension revolved around striking a delicate balance\u0000 between regional cooperation and the recognition of national sovereignty.\u0000 Using Kristin Thompson’s framework of cinematic excess, I argue that the\u0000 film imagines and images this tension by positioning Wong as the force\u0000 which reifies the primacy of ASEAN, while the film’s representation of\u0000 landscapes foregrounds and privileges national specificity.","PeriodicalId":210445,"journal":{"name":"Southeast Asia on Screen","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128491917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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