Southeast Asia on Screen : : From Independence to Financial Crisis (1945-1998) / / ed. by Thomas Barker, Gaik Cheng Khoo, Mary Ainslie.

• Superior document: Title is part of eBook package: De Gruyter Amsterdam University Press Complete eBook-Package 2020
• MitwirkendeR: Ainslie, Mary J.,; Alarilla, Adrian,; Arriola, Joyce L.,; Barker, Thomas,; Campos, Patrick F.,; Cheng Khoo, Gaik,; Driskell, Jonathan,; Ferguson, Jane M.,; Hanan, David,; Hoang Nguyen, Qui-Ha,; Imanjaya, Ekky,; Irawanto, Budi,; Khuankaew, Sasinee,; Sebastiampillai, Chrishandra,; Siddique, Sophia,; Soehadi, Gaston,; Yngvesson, Dag,
• HerausgeberIn: Ainslie, Mary,; Barker, Thomas,; Khoo, Gaik Cheng,
• Place / Publishing House: Amsterdam : : Amsterdam University Press, , [2020]; ©2020
• Year of Publication: 2020
• Language: English
• Series: Asian Visual Cultures ; 10
• Physical Description: 1 online resource (304 p.)
• Other title: Frontmatter --; Table of Contents --; List of Illustrations --; Introduction --; Section 1. Independence and Post-World War II Filmmaking: Nation-building, Modernity and Golden Eras --; Introduction: Independence and Post-World War II Filmmaking : Nation-building, Modernity and Golden Eras --; 1. A Nation Imagined Differently. The Critical Impulse of 1950s Indonesian Cinema --; 2. The 1950s Filipino Komiks-to-Film Adaptation during the Studio Era --; 3. Pearl Tears on the Silver Screen. War Movies and Expanding Burmese Militarism in the Early Independence Years --; 4. Gender, Nation and Spatial Mobility in On Top of the Wave, on Top of the Wind --; 5. Spectacularity of Nationalism. War, Propaganda and Military in Indonesian Cinema during the New Order Era --; Section 2. Key Directors --; Introduction: Key Directors --; 6. Two Auteurs in the Indonesian Cinema of the 1970s and 1980s : Sjuman Djaya and Teguh Karya --; 7. Hussain Haniff and the Place of the Auteur in Popular Malay Cinema --; 8. Ratana Pestonji and Santi Vina. Exploring the 'Master' of Thai Cinema during Thailand's 'American Era' --; 9. Locating Mike de Leon in Philippine Cinema --; Section 3. Popular Pleasures --; Introduction: Popular Pleasures --; 10. Nora Aunor vs Ferdinand Marcos. Popular Youth Films of 1970s Philippine Cinema --; 11. Transnational Exploitation Cinema in Southeast Asia. The Cases of Indonesia and the Philippines --; 12. Mapping Regional Ambivalence and Anxieties in They Call Her... Cleopatra Wong --; 13. The Boonchu Comedy Series. Pre-1990s Thai Localism and Modernity --; About the Authors --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9789048541904; 9783110689556; 9783110738230; 9783110696295; 9783110704655; 9783110704785; 9783110704716; 9783110704518; 9783110696301
• DOI: 10.1515/9789048541904?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Thomas Barker, Gaik Cheng Khoo, Mary Ainslie.

This collection examines Southeast Asia's cinematic development throughout the latter part of the 20th century, before the post-2000 revival and the advent of digital filmmaking.[-][-]Following the end of World War 2, after which many Southeast Asian nations gained their national independence, and up until the Asian Financial Crisis of 1997-1998, film industries in Southeast Asia had distinctive and colourful histories shaped by unique national and domestic conditions. This collection addresses the similar themes, histories, trends, technologies, and socio-political events that have moulded the art and industry of film in this region, identifying the unique characteristics that continue to shape cinema, spectatorship and Southeast Asian filmmaking in the present and the future. Bringing together scholars across the region, chapters explore the conditions that have given rise to today's burgeoning Southeast Asian cinemas as well as the gaps that manifest as temporal belatedness and historical disjunctures in the more established regional industries.