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In a work that will force scholars to re-evaluate how they approach Sinophone studies, Wai-Siam Hee demonstrates that many of the major issues raised by contemporary Sinophone studies were already hotly debated in the popular culture surrounding Chinese-language films made in Singapore and Malaya during the Cold War. Despite the high political stakes, the feature films, propaganda films, newsreels, documentaries, newspaper articles, memoirs, and other published materials of the time dealt in sophisticated ways with issues some mistakenly believe are only modern concerns. In the process, the book offers an alternative history to the often taken-for-granted versions of film and national history that sanction anything relating to the Malayan Communist Party during the early period of independence in the region as anti-nationalist. Drawing exhaustively on material from Asian, European, and North American archives, the author unfolds the complexities produced by British colonialism and anti-communism, identity struggles of the Chinese Malayans, American anti-communism, and transnational Sinophone cultural interactions. Hee shows how Sinophone multilingualism and the role of the local, in addition to other theoretical problems, were both illustrated and practised in Cold War Sinophone cinema. Remapping the Sinophone: The Cultural Production of Chinese-Language Cinema in Singapore and Malaya before and during the Cold War deftly shows how contemporary Sinophone studies can only move forward by looking backwards. ‘Sound and refreshingly original. Remapping the Sinophone is an important book that will change the ways in which scholars tackle Sinophone studies, and it will exert profound influence on related scholarship published in both the Sinophone and the Anglophone world.’ —Shu-mei Shih, UCLA / The University of Hong Kong ‘Remapping the Sinophone offers a fresh perspective to Sinophone studies by mapping out the relevance of early Chinese-language cinema in Singapore and Malaya to the burgeoning field. Wai-Siam Hee’s examination of this lesser known cultural history in Southeast Asia through the critical lens of the Cold War is a necessary intervention to our understanding of Sinophone Cinema as a pluralistic form.’ —E. K. Tan, SUNY Stony Brook
"As Taiwan's community grows more diverse, Taiwan literature is enriched by a series of locally based writings that draw attention to a specific space and/or to the division between places. In the twentieth century, more and more Taiwanese writers are no longer content with a singular place or dual comparison in their literary creations. Rather, they have started to recognize the plurality of Taiwaneseness and thus re-create an ambiguous form of the Taiwanese subjectivity in response to the conflict and compromise between political beliefs and ethnic groups in a cross-cultural light. To further engage with the multifaceted cultural expressions of Taiwan, this book speaks to the current framework of Sinophone studies by focusing on modern Taiwan and its entanglement with cultural China, Chinese diasporas, nativist trend, and Aboriginal consciousness. Recognizing the unresolved ethnic issues of Taiwan, this study explores different dimensions of ethnoscape in response to the cross-cultural landscape of Taiwan and beyond, while at the same time taking into account the intertwining of the official history and the individual, or ethnic, memory of Taiwan"--
This book provides an overview of the growing field of screenwriting research and is essential reading for both those new to the field and established screenwriting scholars. It covers topics and concepts central to the study of screenwriting and the screenplay in relation to film, television, web series, animation, games and other interactive media, and includes a range of approaches, from theoretical perspectives to in-depth case studies. 44 scholars from around the globe demonstrate the range and depths of this new and expanding area of study. As the chapters of this Handbook demonstrate, shifting the focus from the finished film to the process of screenwriting and the text of the screenplay facilitates valuable new insights. This Handbook is the first of its kind, an indispensable compendium for both academics and practitioners.
In Chinese Cinema: Identity, Power, and Globalization, a variety of scholars explore the history, aesthetics, and politics of Chinese cinema as the Chinese film industry grapples with its place as the second largest film industry in the world. Exploring the various ways that Chinese cinema engages with global politics, market forces, and film cultures, this edited volume places Chinese cinema against an array of contexts informing the contours of Chinese cinema today. The book also demonstrates that Chinese cinema in the global context is informed by the intersections and tensions found in Chinese and world politics, national and international co-productions, the local and global in representing Chineseness, and the lived experiences of social and political movements versus screened politics in Chinese film culture. This work is a pioneer investigation of the topic and will inspire future research by other scholars of film studies. “This edited volume offers a much-needed account of alternative ways of envisioning Chinese cinema in the special context of China and the world. Its vigorous theoretical framework, which puts emphasis on interactions in the context of China and the world, will complement and update publications in related areas.” —Yiu-Wai Chu, The University of Hong Kong; author of Main Melody Films: Hong Kong Directors in Mainland China “Chinese Cinema: Identity, Power, and Globalization offers a collection of studies of modern Chinese films and their global connections, with a contemporary emphasis. Its authors’ insightful analyses of films—famous, obscure, and new to the twenty-first-century screen—elucidate numerous contextual factors relevant for understanding the history and aesthetics of Chinese cinemas.” —Christopher Rea, The University of British Columbia; author of Chinese Film Classics, 1922–1949
Balancing leading scholars with emerging trendsetters, this Companion offers fresh perspectives on Asian cinemas and charts new constellations in the field with significance far beyond Asian cinema studies. Asian cinema studies – at the intersection of film/media studies and area studies – has rapidly transformed under the impact of globalization, compounded by the resurgence of a variety of nationalist discourses as well as counter-discourses, new socio-political movements, and the possibilities afforded by digital media. Differentiated experiences of climate change and the COVID-19 pandemic have further heightened interest in the digital everyday and the renewed geopolitical divide between East and West, and between North and South. Thematized into six sections, the 46 chapters in this anthology address established paradigms of scholarship and viewership in Asian cinemas like extreme genres, cinephilia, festivals, and national cinema, while also highlighting political and archival concerns that firmly situate Asian cinemas within local and translocal milieus. Underrepresented cinemas of North Korea, Bangladesh, Laos, Indonesia, Malaysia, Taiwan, Thailand, and Cambodia, appear here amidst a broader cross-regional, comparative approach. An ideal resource for film, media, cultural and Asian studies researchers, students, and scholars, as well as informed readers with an interest in Asian cinemas.
This path-breaking collection of critical essays introduces a diverse range of approaches to open up the field of modern Chinese literature to new cross-regional, local, and global analyses. Each of the ten essays deals with a particular conceptual problem or case study of different locations and modalities of Chinese-language, or Sinophone, production. From language to music, literature to popular culture, minority politics to internal diaspora, theories of sinography to China's quest for the Nobel Prize, this volume brings together leading and new voices in the study of Chinese literature from a variety of comparative and intranational perspectives. Contributors include scholars from Asia, North America, Europe, and Southeast Asia. It is an indispensable reference for anyone interested in contemporary China and the global politics of Sinophone literature. ``This thought-provoking anthology has opened up many fascinating questions. Although its intended readership is scholars from literary studies, anyone who is interested in the interplay between language, ethnicity and identity should not miss it.`` Zhengdao Ye, The Australian National University
By exploring a rich array of Malay texts from novels and newspapers to poems and plays, Tom G. Hoogervorst's Language Ungoverned examines how the Malay of the Chinese-Indonesian community defied linguistic and political governance under Dutch colonial rule, offering a fresh perspective on the subversive role of language in colonial power relations. As a liminal colonial population, the ethnic Chinese in Indonesia resorted to the press for their education, legal and medical advice, conflict resolution, and entertainment. Hoogervorst deftly depicts how the linguistic choices made by these print entrepreneurs brought Chinese-inflected Malay to the fore as the language of popular culture and everyday life, subverting the official Malay of the Dutch authorities. Through his readings of Sino-Malay print culture published between the 1910s and 1940s, Hoogervorst highlights the inherent value of this vernacular Malay as a language of the people.
This book offers an interdisciplinary, historically grounded study of Asian cinemas’ complex responses to the Cold War conflict. It situates the global ideological rivalry within regional and local political, social, and cultural processes, while offering a transnational and cross-regional focus. This volume makes a major contribution to constructing a cultural and popular cinema history of the global Cold War. Its geographical focus is set on East Asia, Southeast Asia, and South Asia. In adopting such an inclusive approach, it draws attention to the different manifestations and meanings of the connections between the Cold War and cinema across Asian borders. Many essays in the volume have a transnational and cross-regional focus, one that sheds light on Cold War-influenced networks (such as the circulation of socialist films across communist countries) and on the efforts of American agencies (such as the United States Information Service and the Asia Foundation) to establish a transregional infrastructure of "free cinema" to contain the communist influences in Asia. With its interdisciplinary orientation and broad geographical focus, the book will appeal to scholars and students from a wide variety of fields, including film studies, history (especially the burgeoning field of cultural Cold War studies), Asian studies, and US-Asian cultural relations.
Cinema and the Cultural Cold War explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. Sangjoon Lee adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. By taking a closer look at the cultural realities of this tumultuous period, Lee comprehensively reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War. Lee elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. Cinema and the Cultural Cold War demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony. Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. Cinema and the Cultural Cold War reanimates this almost-forgotten history of cinema and the film industry in Asia.
Head Hunters in the Malayan Emergency investigates the infamous political scandal sparked after horrific photographs of war crimes during the Malayan Emergency were leaked to the British press. These photographs depicted British forces and their allies in Malaya scalping corpses and posing with decapitated human heads. The subsequent scandal, involving British generals, police, trade unions, and even Winston Churchill, led to the further discoveries that British forces had deployed over 1,000 men from Bornean headhunting tribes to Malaya, were publicly displaying corpses to terrify Malaya's civilian population into submission, and that photographs of such atrocities had become popular souvenirs among British troops. Using newly uncovered photographs, eyewitness accounts, and government documents, this research is the first ever attempt by any historian to create a complete history of the British-Malayan Headhunting Scandal, its political consequences, the stories of those involved, and its attempted cover-up.