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1.
Abstract

The short film form in Southeast Asia is a potent form of cultural production and one that contributes compellingly to the development and continued growth of the region’s moving image culture. This essay provides a preliminary theoretical framework within which to map the intricacies of the short film within Southeast Asia and offers a case study of short film production in Singapore. The essay grapples with the polymorphous and itinerant qualities of the production, distribution, and/or exhibition of short films through the concepts of modes of production, object, text, and/or trace. It identifies and examines two key traces in contemporary Singapore film production: merantau and motley urbanisms.  相似文献   

2.
This article examines anti-Communist films made by Hollywood in Cantonese and Malay in Singapore and Malaya in the Cold War context of the “Campaign of Truth.” In the early 1950s, the United State Information Agency, an arm of the State Department, secretly commissioned and funded New York Sound Masters Inc. to produce and shoot several anti-Communist films in Singapore and Malaya. In 1953, cinemas across Malaya and Singapore screened Singapore Story and Kampong Sentosa, two Cold War products of the “Campaign of Truth.” In addition to analysing the ideology of these films, this article also combines declassified archive material from the US and Singaporean National Archives with primary materials from UK, US, Singaporean, and Malayan periodicals from the Cold War era in order to explore how these two films use Malay and Cantonese to narrate a Hollywood’s version of the Singaporean story. As these two films have been largely passed over in scholarship and the films and archives have not been regularly accessible, records of these films are absent from histories of film and television in the US, Singapore, and Malaya. This article aims to remedy this absence.  相似文献   

3.
Abstract

This is a first‐hand account of the initial 28 years of Select Books, an independent bookshop, located in Singapore, but with a regional Southeast Asian focus and a global reach. Select Books carved a niche for itself by specializing in books about Southeast Asia and published in Southeast Asia. Its comprehensive and in‐depth book stock gave it an edge over formidable competition at home and abroad. The author relates the difficulties encountered and the novel solutions Select Books employed to overcome administrative problems and sidestep bureaucratic red tape. Select Books operated on all levels of the book trade: as bookseller, distributor, library supplier and publisher. Equally important is its intangible role as a promoter of Southeast Asian authors and their works in Singapore as well as to the first world. Select Books provided a cultural space where authors could meet with their readership. Turning to the broader book community, the author is critical of the Eurocentric mindsets of public and academic institutions in Singapore. She is equally critical of the parochial and prejudiced international market that dismisses books about Asia as insufficiently ‘mainstream’ for their market.  相似文献   

4.
Abstract

After having lain dormant for some 20 years during 1973 and 1991, the Singaporean film industry is experiencing a revival. Films produced since the early 1990s have been resolutely ‘local’ in their portrayals in an effort to ground this emergent cinematic modernity. Only a handful of these films have, however, received any international attention; most remain ‘too local’, ‘too colloquial’ to be exported further afield. This paper explores those visions or versions of the local presented in contemporary films from Singapore that simultaneously manufacture a brand of foreignness assimilable by international audiences. Through an overview of films from the revival period, this paper will show that the images that do travel successfully overseas are those that portray the dark side to Singapore’s road to economic modernization, the failed processes of an Asianized modernity. It is these images, representing one vision of an ‘authentic’ social reality, that is recognizable by international audiences in the context of previous successes by Asian films utilizing a shared form of (local) expression. My question is whether we can read these images as a particular kind of ‘slang’ – a vagabond expression that represents a filmic vernacular that also strategically invokes a cinematic modernity for the Singaporean film industry. This argument may extend to other (emergent) Asian cinemas that also participate in the production of this particular brand of foreignness. The paper will therefore provide some initial speculations towards the regionalization of cinema and ask whether such a move might be desirable and what its purpose might be.  相似文献   

5.
ABSTRACT

In the medieval Islamic world, elite men were the benchmark of hegemonic masculinity and social power. A presumption of masculine authority within the household shaped the way early medieval rulers were described by chroniclers, and how medieval fathers related to their sons. The formal and informal ways in which they interacted with lower status men – whether their clients, their courtiers, or their sons – were hedged about with the symbolic language of gender. The article focuses on the ways in which certain Andalusī literary sources talk about relations of fathers and their sons with the ruling Umayyad family, to offer an additional dimension to our picture of how the dynasty conceptualised and legitimised its power.  相似文献   

6.
This article discusses how the Singaporean Chinese director, Yi Shui, created a Malayanized Chinese-language cinema during the 1950s and 1960s, and offers a retrospective of the way people in Malaya and Singapore framed their nation-building discourse in terms of anti-colonialism and anti-imperialism after the Bandung Conference in 1955. This article holds that the term huayu dianying (Chinese-language cinema) was not first used in the 1990s by scholars in Hong Kong and Taiwan, but that its origins can be traced to Singapore and Malaya in the 1950s where Yi Shui promoted Malayanized Chinese-language cinema in the Nanyang Siang Pau. This earlier use of the term “Chinese-language cinema” overlaps with its current academic usage, including films in Mandarin and Chinese dialects. In 1959, Yi Shui’s essays were collected in On Issues of the Malayanization of Chinese-Language Cinema. Yi Shui also directed several Malayanized Chinese-language films. This article analyzes his “Chinese language cinema” film practice by examining the discourses surrounding the “Malayanization of Chinese-language cinema” in order to show that his semi-documentary Lion City and the melodrama Black Gold attempted to mediate the misunderstandings rooted in the national boundaries and politics of various dialect groups through a “multi-lingual symbiosis” of Chinese languages.  相似文献   

7.
During a brief period in the Japanese occupation of Southeast Asia, Malaya, including Singapore, was administratively placed with Sumatra under Japan’s 25th Army. From 28 March 1942 to April 1943, the two territories that had been separated by British and Dutch colonial rule since the mid-nineteenth century were considered one territory. This article explores how Malay intellectuals, through articles written in the magazine Fajar Asia, took advantage of this unprecedented opportunity to strive for a Malaya-Sumatra and Malaya-Indonesia community. This article will analyse the various wartime imaginings of a joint archipelagic community within the pages of Fajar Asia and highlight tensions within this project which resulted in an impasse as to how such a unity should or could be achieved.  相似文献   

8.
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9.
ABSTRACT

Recent film and television treatment of South Asia from UK producers have introduced new angles on the violent politics of colonial past, whether this be the activities of the East India Company in the early days of Empire, or about Partition, at the ostensible Raj’s end. The controversy over Gurinder Chadha’s 2017 film Viceroy’s House is taken as an opportunity to consider the new South Asian film and television studies and the emergent scholars that are challenging conventional media studies models. The co-constitution of here and there is given as an analytic lens through which to comprehend representation and stereotyping in films “about” politics in South Asia, and the view taken is that a debilitating divide and rule, via mechanisms of representation, remains strongly in place, despite the fighting efforts of the new South Asian media scholarship.  相似文献   

10.
Abstract

Hou Hsiao‐Hsien was invited to Singapore to talk about himself. In the speech, he focused on talking about his family background, his childhood memories, life experiences and how these experiences affected his life, and also how he made his films. Furthermore, as Taiwan had gone through many drastic political and economic changes, especially after the lifting of Martial Law, these conditions influenced Hou’s life and his films, too. That is, Hou’s films presented not only the changes in a rapidly urbanizing rural society, but also the important events of Taiwan’s history. At the end of the speech, Hou also mentioned that realizing the importance of social responsibilities, he would like to get more involved in the public sphere in order to make a difference in society.  相似文献   

11.
ABSTRACT

Visual matrix methodology has been designed for researching cultural imaginaries. It is an image-led, group-based method that creates a “third space” research setting to observe audience groups re-enacting lived experience of an event or process that takes place in the third space of a cultural setting. In this article, the method is described through its use in relation to an art-science exhibition, Human+ Future of the species, where three audience groups with investments in technology worked with exhibition material to achieve a complex ambivalent state of mind regarding technological futures. The visual matrix has been designed to capture the affective and aesthetic quality of audience engagement in third space by showing what audiences do with what is presented to them. We argue that such methodologies are useful for museums as they grapple with their role as sites where citizens not only engage in dialogue with one another but actively re-work their imaginaries of the future.  相似文献   

12.
《Int J Intercult Relat》2013,37(6):714-726
Malaysia and Singapore are good examples of multicultural societies albeit with different acculturation ideologies. Both countries comprise three main ethnic groups but in diametrically opposite proportion. In Malaysia, 50.4% of the population is Malay, 23.7% Chinese, 11% indigenous peoples, 7.1% Indian, and 7.8% other races. In Singapore, the ratio is 74.1% Chinese, 13.4% Malay, 9.2% Indian and 3.3% other races. Due to its colonial past, “ethnicity” has been the central policy issue in Malaysia and remains so up to this day. The dominance of communal politics can be understood in Stephan and Stephan's (2000) model of integrated threat theory. In Singapore, the city-state does not believe in affirmative action and it prefers to manage cultural identities on the basis of a multicultural ideology (Berry and Kalin, 1995, Berry et al., 1977). In this article, multiculturalism is used to refer to public policies carried out by the two countries to manage their plural societies. We will discuss the development of the multicultural models that have evolved in the two countries. While Malaysia's model of multiculturalism is based on policies that have been instituted to manage inter-group tensions, prevent violence, and pursue social justice between the ethnic groups as a result of its past, Singapore's model is guided by pragmatic realism and market fundamentals associated with the needs of a global city. Both models will face challenges in the coming years as they each adapt to the seismic shifts in the geo-economic landscapes.  相似文献   

13.
In Liberalism Disavowed, Chua Beng Huat builds on his earlier work on Singapore as a “communitarian democracy” and analyzes three institutions that work coherently to buttress the legitimacy of the ruling People’s Action Party: first, the public housing program that requires the nationalization of land; second, the state capitalism that is profit-driven, market-oriented, professionally managed, and resistant to corruption; and third, the “state multiracialism” that governs an ethnically diverse population. Chua rejects the idea that Singapore’s success rests on authoritarianism and free-market capitalism, as much it has necessitated political repression and outward-oriented economic policies. The three institutions have roots in the Party’s socialist beginnings, shaping the Singapore system indelibly, and they are likely to sustain over generations. Singapore’s disavowal of liberalism is significant in light of the crisis of the Western liberal-democratic order and the rise of right-wing populist nationalism, as well as the political developments in East and Southeast Asia. Hence, its workings and contradictions, and the larger question of recuperating socialist practices within global capitalism, need to be critically evaluated. A salient concern is whether the critique of the liberal conception of the self also entails the avowal of an alternative conception of freedom.  相似文献   

14.
Films produced since the 1990s revival of Singapore cinema have been interpreted through a historical backdrop consisting of the nation's rapid development, participation in the global economy and authoritarian one-party governance. Film historians have described these texts by relying on discourses associated with globalization and postmodernism. This paper finds the perspective of Singaporean films to have overlooked colonialism as a significant part of Singapore's cultural identity and argues that greater consideration of that history can not only illuminate contemporary films, but also expand film scholarship to include understudied films from Singapore's ‘golden age’ of filmmaking from the 1950s to early 1970s. The history of Singapore cinema should thus be re-periodized. By analyzing the heuristic function of colonial urbanity in films from both eras, this paper explores how spatiality provides a common thread that runs through local experience, identity, culture and cinema.  相似文献   

15.
Abstract

In popular culture, Hong Kong is probably the most “Japanese city” outside Japan. It is home to a wide variety of Japanese popular cultural products and a regional base to many of the Japanese music and television companies who expanded their operations in the city in the early 1990s. Hong Kong's emerging middle class, especially the younger generation, has enthusiastically accepted Japanese contemporary culture and lifestyle, making the city one of the biggest destinations for Japan's cultural exports. Based on fieldwork surveys and interviews, this paper looks at the organizational aspect of popular culture during the heydays of Japanese popular culture in Hong Kong in the 1990s and early 2000s. The investigation focuses on the marketing strategies and promotional efforts used by agents of Japanese popular culture in Hong Kong and the role of popular culture piracy in this process. Beyond analyzing the Japanese case, the paper introduces a new framework to examine the transnational expansion of popular cultures across markets in East and Southeast Asia, highlighting the role of companies and promoters in this process.  相似文献   

16.
ABSTRACT

This paper examines the cultural significance of three emerging Chinese kung fu films in their recent box office success in global film market. The paper aims to provide an integrative framework that shows how Hollywood’s global dominance in both film consumption and production contributes to the success of the newly Chinese Kung Fu films. Focusing on marketing strategies of Crouching Tiger, Hidden Dragon, Hero and House of Flying Daggers, this study argues that the economic success of the three films represent further regulation of Hollywood. In production, the NICL thesis is at work with a particular collaboration pattern among the transnational Chinese film talent communities. In distribution and exhibition, this paper contends that global box office achievement fails to contribute directly to any Chinese film industry. Autonomy is seen between Hollywood film majors and Chinese filmmakers when consumption of these films becomes a global phenomenon.  相似文献   

17.
ABSTRACT

This paper investigates the state of informal social activism initiated by Singaporean youth via the creation of ground-up initiatives. Having witnessed state-civil society relations, where calibrated liberalisation, co-option and coercive measures are used as strategies of state control, these informal collectives seek new modalities and methodologies in their efforts to build the urban commons. By following three of such collectives, this paper seeks to explore the overlapping cultural and social realms they operate in, as well as the new modalities and methodologies they bring, such as participatory art and design. They negotiate constraints from both the state and market through (1) strategic positioning of legal statuses and (2) the formation of a network society, building social capital and a new vocabulary for future efforts in self-organisation.  相似文献   

18.
Education policy has historically been viewed as having an influential part in crafting the roles of immigrants in American society. However, while policy makers continue to push their own agendas on English language learners (ELLs), ELLs continue to push back to create their own sense of what it means be an American. This article analyzes how formal and informal language policies have historically driven the instruction of ELLs and argues that despite attempts to enculturate and/or assimilate ELLs into American schools through strict English instruction, students employ a variety of cultural resources to act agentically in their acculturation.  相似文献   

19.
The success of Kung Fu Hustle within and beyond Hong Kong provides a convenient starting point for a discussion of actor‐director Stephen Chow's films and the manner in which they present themselves as belonging to a particular ‘local’ context. The production of the local is a critical issue in south Indian cinemas, where the local has been named as the linguistic‐cultural identity and became available for political mobilization. Chow's work has significant implications for the study of south Indian cinemas because the dissimilarities between the two facilitate the identification of similar cinematic techniques used by both.  相似文献   

20.
Abstract

Cross‐border informal trade is one of the most important issues between India and Bangladesh. It takes place between people who live a short distance apart, but who find themselves separated by an international boundary. The people of international border areas believe that cross‐border informal trade is a process to maintain a sustainable livelihood because it provides a livelihood to the unemployed. This research has analysed the nature and impact of informal border trade between India and Bangladesh. It has highlighted the sources of security and insecurity through the process of informal border trade. It also analyses the different socio‐economic conditions of informal border trade in border trade prone areas. This research argues that although informal border trade is considered illegal, it is necessary for the maintenance of the livelihood for the poor in the bordering areas. The state failures in fulfilling the needs of the poor force them to involve themselves in informal border trade.  相似文献   

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