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[ecrea] CFP: Southeast Asia on Screen: From Independence to Financial Crisis
Thu Feb 23 07:30:00 GMT 2017
*/CALL FOR PAPERS/*
*/Southeast Asia on Screen: From Independence to Financial Crisis/*
In the last two decades there has been an increase in English-language
scholarship addressing Southeast Asian Cinema. Such research focuses
upon, among others, national film histories (PhAe?Ae?ng 2007; Nugroho and
Herlina 2015; Muthalib 2016), national cinemas (Tolentino 2001; Uhde and
Uhde 2010; Tan 2008; Millet 2006; Lewis 2006; Khoo 2006; Margirier &
Jean-Pierre Gimenez 2011), specific filmmakers (Cheah 2004; Quandt 2009;
Mai 2015) and the filmmaking boom in the digital era (Baumgartel 2012).
However, while such research is a welcome addition to an underexplored
area of film scholarship, there is as yet no concise collection
addressing Southeast Asian cinema from the post-WW2 era up to the 1990s,
before the revival of these region cinemas and the advent of digital
This anthology will be the first comparative analysis across Post-WW2
Southeast Asian national cinemas. Following the end of World War 2,
after which many Southeast Asian nations gained their national
independence, and until the Asian Financial Crisis of 1997-98, film
industries in Southeast Asia had distinctive and colourful histories.
Much of this was shaped by national or domestic conditions, and cinemas
in Southeast Asia have therefore been largely conceptualized as
distinctive national cinemas, albeit ones shaped by global forces and
developments. Whilst acknowledging the importance of respective national
contexts, this collection aims to offer the first comparative overview
of SE Asian cinemas by exploring thematic connections between Southeast
Asian countries and their filmmaking histories. At various times, these
nations experienced similar historical events that shaped their
respective cinemas, making them more similar than different. All
countries underwent a period of national formation in the aftermath of
WW2 (Indonesia, Malaysia, Singapore) giving form to anti-colonial and
nationalist movements and shaping concepts of culture, belonging, and
modernity. The rise of authoritarian regimes (Burma 1962, Indonesia
1966-, Philippines 1972, Thailand 1976, Cambodia 1979) increasingly
defined film production through its relationship to the state, producing
films addressing both state ideology and political resistance.
Throughout the 1970s and 1980s meanwhile, many local industries
flourished, catering to a mass local audience, while, at the same time,
auteur figures emerged in each country, as did art cinema.
In addressing the similar themes, histories, trends, technologies, and
socio-political events that have shaped the art and industry of film in
this region, this edited volume seeks to identify the unique
characteristics that continue to shape cinema, spectatorship and
Southeast Asian filmmaking in the present and future. Such issues could
address 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. As the tenth anniversary of the Association of Southeast
Asian Cinemas conference (triggered by the 1990s film revival)
approaches, this retrospective of Southeast Asian Cinemas past will
provide a timely analytical history while also remaining rooted in the
contemporary and reflecting on the future.
The editors seek chapters that will fit into the following thematic
sections for a book publication with a reputable academic publisher:
1. Independence and Post-WW2 era: films that grappled with what it means
to be postcolonial, dealing with issues of modernity, development, and
2. Golden Eras, Studio Systems and Festival Success: for example, the
golden eras for Philippines, Malaya/Singapore, Cambodia.
3. War, Propaganda and the Military: how and when have Armed forces and
armed struggles have been venerated; these can include a focus on
Vietnamese cinema(s), Myanmar, Indonesia, or Malaysia.
4. Under Martial Law and military authorities: many of the countries of
SE Asia experienced periods of martial law or authoritarianism including
Indonesia (1966-1998), Philippines (1972-1981), and Thailand
(1976-1988). How did these periods shape film production either in
service of the regime or in resistance to it?
5. Cheap Quickies: Exploitation, Sex, and the Popular: prolific
production gave form to popular culture but also cultural debates.
6. Art Cinema and Auteurs: this could focus on Rattana Pestonji, Lino
Brocka, Ishmael Bernal, Mike de Leon, Usmar Ismail, Teguh Karya, etc.
We are aiming to get the book out for the 10^th Association of Southeast
Asian Cinemas Conference. Please submit an abstract of no more than 500
words complete with a 100 word bio by 15 April 2017 to:
(Gaikcheng.Khoo /at/ nottingham.edu.my)
<mailto:(Gaikcheng.Khoo /at/ nottingham.edu.my)>,
(Mary.Ainslie /at/ nottingham.edu.cn) <mailto:(Mary.Ainslie /at/ nottingham.edu.my)>,
and (Thomas.Barker /at/ nottingham.edu.my) <mailto:(Thomas.Barker /at/ nottingham.edu.my)>
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