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1.
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   

2.
The definition of the Korean national cinema in the course of modern and contemporary history of South Korea has provoked controversy. This article examines the negotiations in the identity formation of Korean filmmakers examining specific objects from years of reconstruction following the Korean War. It pays attention to the time when state-building and nation-building became combined enduring heterogeneity of this process. Kim Ki-yo?ng's films depict such characters. His public information short films reflect the legacy of American war films. However, they also contain self-conscious moments when the director refuses to be identified as a mere successor of American documentary filmmakers. Kim's first commercial film, Boxes of Death (1955), an anti-communist thriller, shows great influence from Hollywood, but also with a strong auteurist impulse, theatrical tradition, and the Japanese colonial legacy. However, the most important aspect is the standing presence of America and the USIS-Korea in the identity of Kim Ki-yo?ng and his film. American agencies intervened in the work of Korean filmmakers in the interest of “Free World” bloc-building, and those filmmakers used such agencies to obtain resources. The heterogeneity in the process of the subject formation in Korean national cinema was one common characteristic of many filmmakers of the post-Korean War era.  相似文献   

3.
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4.
Abstract

Hong Kong's film industry has been living through and beyond the 1997 handover to China. Along a complicated socio-economic and cultural heritage, the city's “crisis cinema” successfully milked takeover fears for an anarchic display of showmanship. Local filmmaking conditions, popular narratives and aesthetics from that time can be identified as ingredients in a “chaotic formula” that instigated Hong Kong cinema's “Golden Age.” Unlike other film industries, which point to their disaster centres in a search or celebration of national identity, Hong Kong survived at a fragile historic juncture largely by sailing around the cliffs of political affront and resorting to metaphorical speech instead. Yet, following the handover, the film industry has retired its previous attitudes about itself and the future; it has integrated a new “China factor” and riddled cinema with contradictory statements about the “condition” of Hong Kong. System failure, madness and identity theft in crime stories appear alongside celebratory historicism, cultural allegiance and escapist spectacle, especially in Hong Kong-China co-productions. This paper follows the evolution of the crime genre along general dynamics and transformations of the formula from the 1980s, past the turbulent 1990s and into recent postcolonial Hong Kong, in which the inability to formulate a new crisis, or the resolution of the previous one, has put cinema itself into crisis.  相似文献   

5.
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   

6.
Professor Chua Beng Huat is an internationally well-known and respected sociologist and cultural studies scholar from Singapore. In early 2015, his long-time collaborator and Inter-Asia Cultural Studies co-founder, Kuan-Hsing Chen, and his former student turned present colleague, Daniel Goh, interviewed Chua on the eve of his retirement as the Head of the Department of Sociology at the National University of Singapore. This wide-ranging interview tracks a colourful biographical trajectory that expresses both the contradictions of the illiberal capitalism underpinning Singapore's rapid development and the strategic dilemmas and tactical travails of an intellectual clinging on to the representations of truth.  相似文献   

7.
ABSTRACT

Despite the long history of the export and exhibition of Indian films in Southeast Asia, a systematic documentation of how Hindi and Tamil films from India found their way into the region has yet to be undertaken. Theatrical exhibition of Indian films is reported to have sharply declined or ended since the late 1970s in their traditional markets in Malaya, Ceylon, British East Africa, Burma, Persian Gulf Ports, Thailand and South Vietnam. Yet films continued to be circulated through formal and informal networks such as video parlours, CD shops, television and, lately, on the internet. Although Singapore has the unique distinction of being the only Southeast Asian country, which still has a few theatres exclusively dedicated to screening Indian films, theatrical exhibition is not the only medium through which they are circulated. Based on fieldwork conducted between 2008 and 2010, this paper contrasts the formal distribution of Indian films with their informal circulation through which they “leak” into the multi-ethnic spaces of the global city. Drawing on photographs, exhibits, interviews, reports and observations, the essay focuses on television, CD shops, lending libraries and the internet through which Indian films are disseminated in Singapore.  相似文献   

8.
Abstract

Through much of post‐colonial history and particularly during the so‐called ‘New Order’ (under General Suharto), Indonesian citizens of ethnic Chinese descent have been caught in a strangely ambiguous position: they have enjoyed enormous economic power while at the same time being threatened with politico‐cultural effacement. This paper is an attempt to understand that ambiguity in relation to the Indonesian cinema – both around questions of industry history and around issues of representation of national and ethnic identity on screen. The paper traces the presence, the erasure and the absent‐presence of Indonesia's ethnic Chinese minority from the establishment of a film industry in Indonesia in the 1930s to the post‐New Order political shifts, opening up possibilities for a new public discourse of Chineseness. I argue however that the openness of current Indonesian culture and politics, while providing the necessary condition for re‐imagining the Chinese Indonesians, does not ensure a radical shift in a politics of representation, deeply embedded in the textual practices of the film industry and more widely in the cultural and political history of modern Indonesia.  相似文献   

9.
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   

10.
《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   

11.
Hong Kong cinema is an emerging component of the booming Chinese film industry twenty years after the transfer of Hong Kong’s sovereignty from Britain to China. Hong Kong filmmakers and film companies now routinely collaborate with the mainland industry to produce for the mainland audience, prompting many creative artists and companies of the Hong Kong industry to relocate to the mainland. Based on the fundamental idea that both mainland Chinese cinema and Hong Kong cinema are constantly reshaping as a result of inter- and trans-cultural exchanges, this article adopts a bottom-up approach to re-examine the top-down-managed cultural nationalisation of Hong Kong cinema. Hong Kong (co-)produced films are increasingly devoid of local sensibilities and identities. Film companies and talents of the Hong Kong film industry, at least in the mainstream sector, are gradually incorporated into the film industry in the mainland. Notwithstanding these overwhelming tendencies, I suggest that Hong Kong cinema’s legacies exist beyond narrative strategies and genre approaches, and have started to show in film companies’ role in, and their capability of, challenging and reshaping the future of the Chinese screenscape. Specifically, through the examination of a series of film projects from Milkyway Image, a Hong Kong-based film production company, this article shows that Hong Kong cinema’s renationalisation is a process of simultaneous cooperation, negotiation, and resistance.  相似文献   

12.
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   

13.
This article utilizes oral history testimony to investigate cinema-going practices in the Holyland, a largely Protestant working-class community in post-war Belfast. It investigates the place-specific nature of cinema attendance, assesses the social practices of cinema-going and examines the reasons for the post-war decline in attendance and consequent cinema closures. Oral history testimony demonstrates the close link between the nature of cinema attendance, changes in the life cycle and urban mobility. By linking the recollections of post-war cinema-goers to broader social and economic developments in Belfast, and assessing Northern Ireland's relationship to the rest of the United Kingdom, this article investigates the reasons for the closure of the Apollo, the local neighbourhood cinema for residents of the Holyland.  相似文献   

14.
Children's names reflect their gender, culture, religion, language, and family history. Use of students' personal names has the power to positively affirm identity and signal belonging within the classroom and school community. However, naming practices also have the power to exclude, stereotype, or disadvantage students. For many students from diverse cultural and linguistic backgrounds, their names can be a source of cultural conflict and a watershed for issues of identity and belonging within the school setting. Through multicultural explorations of students' names, educators can affirm students' cultures and identities, and draw upon these as resources to support learning and development from early childhood through the adolescent years. The purpose of this article is to (a) discuss the importance of a person's name to cultural identity, (b) describe strategies to build multicultural communities in K-8 classrooms through exploration of students' names, and (c) suggest multicultural children's literature and curricular activities to teach about the importance of personal names, and develop cross-cultural understandings.  相似文献   

15.
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   

16.
The Global Cultural Initiative (GCI) was a flagship cultural diplomacy effort introduced by the Bush Administration in the mid-2000s; one project of this initiative was the American Film Institute's Project: 20/20, a program of 19 films from five continents scheduled to tour the United States and abroad. This paper is a historical exploration into how the Bush Administration reconstructed American identity and culture through framing, and how that framing was embedded within cultural diplomacy initiatives like the GCI. This paper contributes to an understanding of how intercultural dialogue is often based on key messages and constructed ideas.  相似文献   

17.
Singapore has been undergoing a negotiation of its national identity as it celebrated its fifty years of independence. The seemingly lack of consensus on the nation’s identity has brought about much heated debates about Singapore’s governance. However, the construction of one’s definition of national identity is often shaped not by the political discourse but by what one has experienced in his or her formative years. Citizens who experienced different stages of nationhood are hence likely to develop different interpretations of what it means to be a citizen of the nation. In this study, using network analysis, we sought to examine how the definition of national identity differed between citizens who were born before Singapore’s independence, and hence experienced the early nation-building phase of the country, vis-à-vis citizens who were born after the country’s independence. 1000 native Singaporeans indicated which of the 27 identity markers were important for an immigrant to have to be accepted as a Singaporean. The analysis revealed that there were differences in the number of clusters within the identity networks of individuals born before versus after Singapore’s independence. The strength of the identity network of individuals born before independence was also stronger. Using simulated networks, we also showed how a change in endorsement of more influential markers had stronger effect on the overall identity network than a change in endorsement of less influential markers among individuals born before independence.  相似文献   

18.
Abstract

Through an in‐depth analysis of internationally acclaimed Turkish director Nuri Bilge Ceylan's 2008 film Three Monkeys (Üç Maymun), this article discusses the politics of Ceylan's cinema against the backdrop of the current memory debate in Turkey. Turkey has a troubling relationship with its past. The process of the foundation and the early development of the Turkish nation‐state included traumatic events during which ethnic and religious minorities were massacred, deported, or encouraged to migrate. There have also been several violent incidents in Turkey's subsequent history that include massacres, mass killings, political assassinations, as well as military coups. It is a widely held opinion that social memory in Turkey is based on forgetting and denial, that is, Turkish society deals with the troubling events in its past by turning a blind eye to them. Drawing upon the question of how it may be possible to make the traces of forgetting and silence observable, this paper argues that Ceylan's film, despite its seemingly apolitical story, has indeed profound political connotations since its narrative and visual organization serve to display the prevailing mood of silence, oblivion and complicity in Turkey.  相似文献   

19.
Since the term “transnational cinema” first appeared in 1997, most studies have focused on films epitomizing the logic of either profit maximization or ethnic affinity to explain phenomena such as the mainstreaming of Kung Fu movies. Yet, these two logics do not account for the entirety of the transnational projects that have been produced to date, hence the call for more studies on “trans-border patterns” that operate beyond both of them (Berry 2010, 123). In this article, we take up this call and approach the co-productions between China and Italy as exhibiting a “trans-border pattern” which satisfies interests beyond both the market and ethnic affinity. We trace the history of such a “pattern” back to the arrival of the Italian pioneer of Chinese cinema, Amerigo Lauro, in Shanghai in the early 1900s. We contextualize the productions of Michelangelo Antonioni’s Chung Kuo/China (1973), Giuliano Montaldo’s Marco Polo (1982) and Bernardo Bertolucci’s The Last Emperor (1987) to provide exemplary cases of a non-market oriented affinity between two culturally distinct nations: China and Italy. We conclude by suggesting that China has pursued transnational co-productions with European countries such as Italy to exercise a more productive control than censorship over the ways China is to be represented internationally.  相似文献   

20.
Abstract

In about half a decade since May 1998, changes have taken place in the content, production, distribution, exhibition, and discourse of Indonesian cinema. During Reformasi (1999–2001), the rules and regulations of cinema authorized under the New Order government of President Suharto began to be contested and re‐negotiated. The rise of new film genres and changes in concepts about existing genres and formats took place, new discourses emerged, and different communities and institutions arose that identified themselves with certain film genres or which used the medium of film for particular means, such as a medium for advocacy of human rights issues. Five to six years after 1998, it is apparent that besides changes, there are also many continuities: many old film institutions and structures for film production, distribution, and exhibition are still in place, and topics of discourses often recall past discourses of the New Order period or those held in the newly independent 1950s. This paper considers some of the changes in the understanding of genres and formulas within horror films, and discusses modes of representation and constraints in choices of subject matter in narrative practices in contemporary Indonesian cinema.  相似文献   

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