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'Censorship in South Asia' explores the cultural politics behind the debate, from colonial paintings to onscreen kisses and nuclear secrets.
From the puzzling liberalization of media under military dictatorship in Pakistan to the brutal killings of journalists in Sri Lanka, and the growing influence of social media in riots and political protests in India, Nepal and Bangladesh, the chapters analyse some of the most important developments in the media fields of contemporary South Asia. Attentive to colonial histories as well as connections within and beyond South Asia in the age of globalization, the chapters combine theoretically grounded studies with original empirical research to unravel the dynamics of media as politics.
Diploma Thesis from the year 2009 in the subject South Asian Studies, South-Eastern Asian Studies, grade: 2,3, University of Bonn, course: Regionalwissenschaften Südostasien, Medienwissenschaften, language: English, abstract: Singapore’s media system has been stable through a period of revolutionary change and impressive reform elsewhere. While new players and technologies have found its way into the media scene, the ruling People’s Action Party’s (PAP) upholds the media’s fundamental structure. Historical racial rioting has been linked to justify the subordinate role of the press. In contrast to the Western Press which is often denominated as the ‘fourth estate’ of the state, the Singaporean press is rather to support the PAP’s politics. Due to different political, historical, cultural and economic environment, authoritarian politicians in Southeast Asia argue that freedom of the press, as a Western concept, has a different meaning and weight unlike in the Western industrial nations because of its different value system. The Asian values require the harmony between the press and the state as in the ‘partners in nationbuilding’ to maintain its authoritarian governance and at the same time sharing a common interest in economic growth. Singapore’s government has promoted and established sophisticated information and communication technologies amongst the first. Nowadays, Singapore can consider itself as one of the most developed and best networked states in the world. Feared by the challenges of the New Media and the free and open exchange which might lead to confusion and opposition to the PAP’s activities, the government enacted laws and encouraged a system of censorship to tame the press. The well-functioning system consists of legal restrictions, technical filters and informal censorship, such as self-censorship. A closer look at this pragmatic and sensitive approach of censorship, Singapore’s government seems prepared to deal with the New Media and further challenges.
In the world of globalized media, provocative images trigger culture wars between traditionalists and cosmopolitans, between censors and defenders of free expression. But are images censored because of what they mean, what they do, or what they might become? And must audiences be protected because of what they understand, what they feel, or what they might imagine? At the intersection of anthropology, media studies, and critical theory, Censorium is a pathbreaking analysis of Indian film censorship. The book encompasses two moments of moral panic: the consolidation of the cinema in the 1910s and 1920s, and the global avalanche of images unleashed by liberalization since the early 1990s. Exploring breaks and continuities in film censorship across colonial and postcolonial moments, William Mazzarella argues that the censors' obsessive focus on the unacceptable content of certain images and the unruly behavior of particular audiences displaces a problem that they constantly confront yet cannot directly acknowledge: the volatile relation between mass affect and collective meaning. Grounded in a close analysis of cinema regulation in the world's largest democracy, Censorium ultimately brings light to the elusive foundations of political and cultural sovereignty in mass-mediated societies.
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