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1.
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   

2.
Abstract

In this essay, Ho Tzu Nyen attempts to unearth a subterranean narrative that threads through three films produced by three male Singaporean directors – namely Mee Pok Man (1995) by Eric Khoo, 15 (2003) by Royston Tan, and Zombie Dogs (2004) by Toh Hai Leong. This narrative of unconsciously repeated motifs that migrate from film to film is in turn analyzed as a recurrent symptom that haunts a number of Singaporean cinematic productions from the 1990s onwards. This symptom, which can be summarily described as a paranoid relationship to ‘otherness’, makes manifest a variety of psychic tendencies such as morbid fear of impotence, misogyny, and fetishization of the social other. For Ho, such impulses are in turn intricately linked to what he, following the literary critic Harold Bloom, calls ‘The Anxiety of Influence’. For Bloom, every poet embarks upon his career after a prior encounter with another poet, or poem. As a result, the ‘late‐coming’ poet inevitably suffers from a sense of threatened autonomy, because his profoundest insights and deepest desires are always already elucidated by another. For the Singaporean filmmaker, Ho argues that this ‘anxiety’ in relation to the cinematic tradition takes on a peculiar nature and a doubled pressure, for the canon that inspires them is perceived as being something essentially foreign. Hence the Singaporean filmmaker makes cinema as though he is stuttering in a foreign tongue. Therefore, the concept of ‘the anxiety of influence’ is modulated and compounded with a ‘postcolonial anxiety’. In addition, Ho also draws upon the concepts of the philosopher Gilles Deleuze in an attempt to sketch out an ontology of cinema that at once functions in a deconstructive relationship to ‘auteur‐driven’ modes of analyses, while avoiding what he perceives as the overly ‘sociological’ bent that characterizes much of the existing corpus of writings on Singaporean cinema.  相似文献   

3.
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   

4.
Abstract

In December 2005, a film called Be With Me, by Singapore director, Eric Khoo, was disqualified from entering the Best Foreign Language Film category at the following year’s Academy Awards on the grounds that it contained ‘too much English’. An Academy spokesperson attempted to explain this decision with what was apparently obvious, that ‘English is not a foreign language’. In an age where issues of cultural migration, hybridity, diaspora and globalisation are de rigueur, this intractable declaration seems almost comic. However, it indicates a continued ambivalence in the role of the English language in the making of a cultural identity: the perennial post‐colonial conundrum that shows no sign of going away. Singapore’s post‐independence decision to keep English as the first language of the country means that the use of English, albeit with local variations, is a quotidian reality. I would like to use this incident to reflect, not so much on the politics of Oscar selection, as perhaps more importantly, on the implications it presents for the internationalisation, and thus the ownership, of English, as well as its role as a marker for both local and global subjectivities – especially when the irony of the situation is compounded by the fact that Khoo’s film is, in effect, mostly silent.  相似文献   

5.
Abstract

When director Wisit Sasanatieng’s retro cowboy flick Fa thalai jone (2000 Wisit, Sasanatieng. 2000. Tears of the Black Tiger (Fa thalai jone)  [Google Scholar]) became the first Thai film to be screened at the Cannes Film Festival in May 2001, under the English‐language title Tears of the Black Tiger, Thai cinema seemed to have truly ‘gone international’. This paper examines the striking disparity, however, in the reception of the film by local and global audiences, to the extent that Fa thalai jone and Tears of the Black Tiger might arguably be understood as two discrete and divergent cinematic texts at the level of viewer signification. For Western critics, ‘Tears…’ is unquestionably a piece of postmodern filmmaking, awash with surface aesthetic appeal, intertextual richness and an apparently unrelenting obsession with style that is seemingly devoid of an original reference point. Fa thalai jone, by contrast connotes distinct meanings for Thai audiences, who are more fully attuned to the original references the film pursues and able to read the aesthetic appeal it has to offer in a framework beyond that of the dominant ‘force field’ of interpretation that postmodernism has come to be in the West. Instead Fa thalai jone offers a homage to Thailand’s cinematic past, posing as a ‘genuine Thai film’ (phaphayon thai thae) and comprehended in terms of an alternative dominant force field of meaning, that of traditionalism and reverence for the past. This paper examines the ways in which Tears of the Black Tiger/Fa thalai jone straddles two alternative interpretive positions in an accomplished move on the part of the director to pursue the globally focused aspirations of modern Thai cinema while remaining idiosyncratically faithful to local sensibilities.  相似文献   

6.
Abstract

This paper aims to engage in a critical analysis of the concept of ‘accented cinema’ recently developed by Hamid Naficy to refer to the emergent genre of exilic/diasporic filmmaking. Naficy’s theorization of ‘accented cinema’ in particular and discussions around exilic/diasporic cinema in general will be challenged on the basis of the observation that the cinematic styles and thematic preoccupations associated with exilic/diasporic films consistently appear also in wide‐ranging examples of contemporary ‘world’ cinema that are often classified under the rubric of ‘national cinemas’. To illustrate this observation, the paper provides a parallel reading of three recent films – A Time for Drunken Horses (1999) by Kurdish‐Iranian director Bahman Ghobadi, Happy Together (1997) by Hong Kong director Wong kar‐wai, and Distant (2002) by Turkish director Nuri Bilge Ceylan – whose directors cannot possibly be considered as ‘exilic/diasporic’ in a conventional sense. Yet, it will be argued, the styles and thematic concerns associated with exilic/diasporic cinema manifestly prevail in all three films discussed in this paper as well as in many other examples of contemporary ‘world’ cinema. Departing from this observation, the paper will open up the new genre of ‘accented cinema’ to further questioning and suggest that unless the mutual entanglement between exilic/diasporic filmmaking and national cinema is disclosed, the notion of ‘accented cinema’ will not be sufficiently able to realize its critical potential.  相似文献   

7.
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   

8.
Abstract

This paper argues that two conflicting discourses of internationalism stood in uneasy counterpoint and contention in the Asian arena of the 1950s, reflected in the legacies of the Bandung conference. The first drew on a language of global citizenship and rights. The second saw the international system as a source of strength and support for state sovereignty, and state‐directed programmes of national development. The remainder of the paper uses the case of late‐colonial Singapore to examine the intersection of these two discourses of internationalism. An Asian internationalism, which spanned to include Africa over the course of the 1950s, became one of a stock of narratives that made Singapore’s ‘everyday cosmopolitanism’ possible, in the worlds of the hawkers, the dockworkers and the agriculturalists. The political aspirations of these groups were sacrificed, ultimately, to the goal of disciplined national development, supported by an international order that had closed in to defend the interests of state power.  相似文献   

9.
Ian Huffer 《Cultural Trends》2017,26(2):138-154
It has been argued that the circulation of film online is a “democratising process”, evident in the breadth and depth of international film now available online, and in the greater ease of access to this content for audiences across the world. This is seen by some to present greater commercial opportunities for film-making from countries marginalised by previous distribution networks, and to foster a more globally diverse and inclusive film-viewing culture, with particular benefits for diasporic populations. Others, however, have pointed to the way in which audiences’ engagement with film online may be constrained by the economics and technology of online distribution and cultural competencies rooted in social stratification. These factors may limit how and what audiences watch, extending beyond issues of physical access to those of cultural access. As such, they raise questions regarding the demographic composition of the audience for online methods of film distribution and different types of international film. We lack sufficient understanding of these issues, however, due to the limited emphasis upon socio-demographic variables in existing academic research into online film consumption, and the limited consideration of particular film content in relevant market research. This article uses original audience research to interrogate the extent to which online distribution is able to connect audiences to a diversity of international film in comparison to other methods of distribution. It also considers some of the socio-demographic characteristics of the audiences for different methods of distribution and types of international film. In doing so, the article grants us a clearer understanding of the degree to which online film distribution fosters diversity and inclusivity through the connections it facilitates between audiences and content.  相似文献   

10.
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   

11.
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   

12.
ABSTRACT

The primary purpose of this essay is to survey the recent zombie craze in Northeast Asian films from Japan and South Korea. While the concept of the zombie may have originated in colonial Haiti, with its ghoulish images and supernatural lore, zombies were later imported to North America and reformulated as popular cultural entertainment by Hollywood. They are now flourishing in an East Asian cinematic context preserved in a globalized form. The films under investigation – I Am a Hero and Train to Busan – share similar cultural subtexts despite their incommensurable experiences of global capitalism in Asia and its latest ideological phase, neoliberalism. Both films critique the current neoliberal order and were nurtured by historical traumas experienced by both countries as well as the pandemic spread of viruses, both real and imaginary, that have ravaged the region. Nevertheless, the most prominent issue explored by Japanese and Korean zombie films is the continuity of society and its reproduction: as cultural artifacts of the neoliberal world, these films offer dystopian visions in which exploitation accelerates to such an extent that states cannot protect themselves against the viral and capitalist onslaught.  相似文献   

13.
Since the 1980s, popular cultural products have criss‐crossed the national borders of East Asian countries, enabling a discursive construction of an ‘East Asian Popular Culture’ as an object of analysis. The present essay is a preliminary attempt to provide some conceptual and analytic shape to this object, delineated by its three constitutive elements of production, distribution and consumption. Each East Asian location participates in different and unequal levels in each of these component processes. Production can either be located entirely in a single geographic location or, alternatively, each of the necessary constituent sub‐processes can be executed from different locations; preference for either arrangement tends to reflect the relative dominance of the production location in exporting its finished products. Consumption and thus consumers are geographically located within cultural spaces in which they are embedded. Meanings and viewing pleasures are generated within the local cultures of specific audience. Conceptually, among the several possible consumption positions, the one in which an audience watches an imported programme is most intriguing. In this viewing position, differences between the cultures of the location of consumption and that of the production location become most apparent. The audience member has to bring his or her own cultural context to bear on the content of the imported product and read it accordingly. In this sense, the cultural product may be said to have crossed a ‘cultural’ boundary, beyond the simple fact of its having been exported/imported into a different location as an economic activity. Such an audience position requires the consumer to transcend his or her grounded nationality to forge abstract identification with the foreign characters on screen, a foreignness that is, in turn, potentially reabsorbed into an idea of (East) ‘Asia’; a potential ‘East Asian identity’, emerging from consumption of popular cultural products, is thus imaginable.  相似文献   

14.
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   

15.
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16.
Abstract

1997 as a global media spectacle about Hong Kong’s handover of its sovereignty from Britain to China is now almost forgotten; yet Hong Kong is still caught between the politics of time and memory too complex to be captured under simple post‐colonialist notion such as ‘hybridity’. This paper tries to put in perspective a (post‐)colonial cultural politics of counter‐memory in Hong Kong cinema by investigating its decades‐long investment in a sub‐genre built around the motif of undercover‐cop. Specifically, the example of the blockbuster Infernal Affairs series is analyzed in details, with particular attention to its innovative plot, to show how the ‘structure of feeling’ about Hong Kong’s political fate is embedded in the films underpinning their local box‐office success. The allegorical reading of the film series attempted in this paper also connects the discussion about the ‘political unconscious’ of Hong Kong, now and in the past, with the wider problem of how the future political subjectivity of Hong Kong will take shape.  相似文献   

17.
Lim Chin Siong was the undisputed political leader of the anticolonial and Malayan left-wing in Singapore until his detention without trial in 1963 ended his political career. That he had a major impact on Singapore’s decolonisation is beyond dispute – indeed, both Tunku Abdul Rahman and Lee Kuan Yew formulated their merger policy specifically in response to Lim’s politics and his values. Yet Lim remains a poorly understood figure because of a lack of sources and a historiography written almost entirely from his opponents’ perspectives. Reassessing existing literature in view of recently declassified British archives, this essay pieces together Lim’s articulation of three tenets in the political thinking that guided his tactics for social mobilisation: anticolonial unity, non-violence, and popular sovereignty. Lim put these principles into practice with great success, becoming the leader of the largest and most formative nationalist movement Singapore has ever known. Understanding Malayan nationalism in Singapore – and its successor, Singaporean nationalism – is thus impossible without understanding Lim Chin Siong.  相似文献   

18.
Abstract

After the New Order stepped down in 1998 and the Department of Information was closed down in 1999, the Indonesian government loosened their control on film regulation. At that time, theatres rarely screened Indonesian films and there had been no film festivals in Indonesia for a long period. Meanwhile, advanced digital technology had provided a digital film camera – for the non‐professional user – that more people could afford. Some young Indonesians believed that lots of Indonesians had a digital film camera and used them to make films, instead of just recording family gatherings. These youngsters – mostly from big cities – came from different backgrounds and usually met at alternative film screenings in foreign cultures centres or the Indonesian Cinematheque. Most were well‐educated and dreamed of watching films from their own country. They therefore organized a film festival in 1999 under name ‘the Indonesia Independent Film‐Video Festival’. They chose a short‐film format for the festival because it was easier for common people to make a short film than a feature film with a digital camera. The organizer of the Indonesia Independent Film‐Video Festival established an organization in early 2000 named Konfiden. After 2000, Konfiden tried to promote Indonesian short films at international short‐film festivals such as the Oberhausen Short Film Festival and Tampere Short Film Festival. After 2002, Konfiden’s festival was not the only short film festival in Indonesia. Several film communities in Java started to organize short film festivals. The Konfiden’s next step is to build a film market, database, and to shape the quality for Indonesia short films.  相似文献   

19.
Abstract

Following the recent trends of globalization and regionalization, the idea of Asia has been revived in political, economic, and cultural fields. This essay examines some of the various uses of this idea in modern East Asian and especially Chinese history. The essay consists of four parts. Part One discusses the derivativeness of the idea of Asia, that is, how this idea developed from modern European history, especially the nineteenth‐century European narrative of ‘World History,’ and it points out how the early modern Japanese ‘theory of shedding Asia’ derived from this narrative. Part Two studies the relationship between the idea of Asia and two forms of populism against the background of the Chinese and Russian revolutions – one, exemplified by Russian Narodism, attempted to use Asian particularity to challenge modern capitalism; the other, represented by Sun Yat‐sen, attempted to construct a nation‐state according to a socialist revolutionary program, and to develop agricultural capitalism under the particular social conditions of Asia. Part Three considers the differences and tensions between the ‘Great Asia‐ism’ of Chinese revolutionaries such as Sun and the Japanese idea of East Asia (Tōyō),and it discusses the need to overcome the categories of nation‐state and international relations in order to understand the question of Asia. Part Four discusses the need to go beyond early modern maritime‐centered accounts, nationalist frameworks, and Eurocentrism in re‐examining the question of Asia through historical research by focusing on the particular legacies of Asia and Toyo (such as the tributary system) and the problems of ‘early modernity.’  相似文献   

20.
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   

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