Southeast Asia On Screen

After the end of World War II when many Southeast Asian nations gained national independence, and up until the Asian Financial Crisis, film industries here had distinctive and colourful histories shaped by unique national and domestic conditions. Southeast Asia on Screen: From Independence to Financial Crisis (1945-1998) addresses the similar themes, histories, trends, technologies and sociopolitical 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.

The rise of independent cinema in Southeast Asia, following the emergence of a new generation of filmmakers there, is among the most significant recent developments in global cinema. The advent of affordable and easy access to digital technology has empowered startling new voices from a part of the world rarely heard or seen in international film circles. The appearance of fresh, sharply alternative, and often very personal voices has had a tremendous impact on local film production. This book documents these developments as a genuine outcome of the democratization and liberalization of film production. Contributions from respected scholars, interviews with filmmakers, personal accounts and primary sources by important directors and screenwriters collectively provide readers with a lively account of dynamic film developments in Southeast Asia. Interviewees include Lav Diaz, Amir Muhammad, Apichatpong Weerasethakul, Eric Khoo, Nia Dinata and others. Tilman Baumgärtel taught film and media studies in Germany, Austria and the Philippines before joining Royal University of Phnom Penh in 2009. He has curated international film series and art exhibitions, and has also published books on independent cinema, Internet art, computer games and the German director Harun Farocki. His blog can be found at http://southeastasiancinema.wordpress.com

This book discusses contemporary film in all the main countries of Southeast Asia, and the social practices and ideologies which films either represent or oppose. It shows how film acquires signification through cultural interpretation, and how film also serves as a site of contestations between social and political agents seeking to promote, challenge, or erase certain meanings, messages or ideas from public circulation. A unique feature of the book is that it focuses as much on films as it does on the societies from which these films emerge: it considers the reasons for film-makers taking the positions they take; the positions and counter-positions taken; the response of different communities; and the extent to which these interventions are connected to global flows of culture and capital. The wide range of subjects covered include documentaries as political interventions in Singapore; political film-makers’ collectives in the Philippines, and films about prostitution in Cambodia and patriotism in Malaysia, and the Chinese in Indonesia. The book analyses films from Burma, Laos, Cambodia, Vietnam, Thailand, Malaysia, Singapore, Indonesia and the Philippines, across a broad range of productions – such as mainstream and independent features across genres (for example comedy, patriotic, political, historical genres) alongside documentary, classic and diasporic films.

Featuring interviews with 27 award-winning and emerging filmmakers, this book is the first comprehensive look at independent filmmaking careers in South East Asia with never-before published insights into the lives and careers of some of the most influential filmmakers in one of the world’s most exciting screen production regions. Celebrating filmmaking in South East Asia, the interviews offer unique perspectives that highlight the various paths filmmakers have taken to establish and develop their independent filmmaking careers. Presenting filmmakers whose films span narrative, documentary and experimental genres, and from all ten South East Asian nations, the filmmakers in this collection include: Camera d’Or winner Anthony Chen Sundance Grand Jury Prize nominee Mouly Surya NETPAC Award Winner Sheron Dayoc Brunei’s first female director, Siti Kamaluddin Directors of the Wathann Festival, Thaiddhi and Thu Thu Shein Lao’s only female and first horror film director, Mattie Do Aimed at aspiring filmmakers with a focus on career building outside of global production hubs, Meißner has curated a collection of interviews that reflects the diversity and ambition of filmmaking in South East Asia. The book is accompanied by a companion website (www.southeastasianfilmcareers.com) that includes 27 micro-documentaries on the included filmmakers.

Living Standards in Southeast Asia: Changes over the Long Twentieth Century, 1900-2015 examines changes in living standards across the ten countries of Southeast Asia (Indonesia, Malaysia, Singapore, Philippines, Thailand, Brunei, Myanmar, Vietnam, Cambodia and Laos) from the early years of the 20th century to the early 21st century. It covers both the last decades of the colonial period, the transition to independence and the decades from 1960 to the 2010s. The study uses a range of monetary and non-monetary indicators to assess how living standards have changed over time. It examines the outcomes in the context of debates about economic growth, inequality and poverty alleviation which began in the 1960s and 1970s, and continue to the present.

A timely look at the impact of China's booming emergence on the countries of Southeast Asia Today, Southeast Asia stands uniquely exposed to the waxing power of the new China. Three of its nations border China and five are directly impacted by its claims over the South China Sea. All dwell in the lengthening shadow of its influence: economic, political, military, and cultural. As China seeks to restore its former status as Asia's preeminent power, the countries of Southeast Asia face an increasingly stark choice: flourish within Beijing's orbit or languish outside of it. Meanwhile, as rival powers including the United States take concerted action to curb Chinese ambitions, the region has emerged as an arena of heated strategic competition. Drawing on more than a decade of on-the-ground experience, Sebastian Strangio explores the impacts of China's rise on Southeast Asia, the varied ways in which the countries of the region are responding, and what it might mean for the future balance of power in the Indo-Pacific.

Straddling the equator, Southeast Asia comprises Myanmar, Thailand, Malaysia, Indonesia, Vietnam, Singapore, and the Philippines, as well as Laos, Cambodia, Brunei, and East Timor. Despite its extraordinary diversity of ethnicities, religions, and political systems, Southeast Asia plays a keyrole in global economies and geopolitics, especially in light of its strategic position bordering China and India. This Very Short Introduction explores the contemporary character of Southeast Asia's national societies through the lens of their historical evolution, from the eras of indigenouskingdoms and colonies under Western rule to the present's independent nation states. Deftly combining historical analysis and geopolitical insights, the book paints a bird's eye view of contemporary Southeast Asia as a community of diverse societies and traditions as well as a politicaltheater-of-action nested between India and China and tangled in global economic traffic patterns, balance of powers, and environmental forces.As James R. Rush explains, archaic structures, such as religious and ethnic rivalries, tenacious feudal hierarchies, and age-old trade and migration patterns, remain rooted in today's Southeast Asia beneath the surface of modern national governments. The book draws on a wide range of examples fromthe major nations, including the ethno-religious violence in Myanmar, the Muslim-led rebellion in the southern Philippines, the Thai-Cambodian territorial rivalries, the Confucian-inspired governance in Singapore, the military rule and democratization in Indonesia, the environmental consequences ofagribusiness, mining, and unchecked urbanization, and the big-power alignments and tensions involving the United States, China, and Japan. By delving into the cultural, political, and geographical background of Southeast Asia, Rush shows that Southeast Asia is unquestionably modern, but it is modernin distinctively Southeast Asian ways.