http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
ix, 282 pages : illustrations (black and white) ; 24 cm.
"Archipelagic Cinemas compares trajectories of cinematic and political development across Southeast Asia from the mid-twentieth century to the present, taking the Indonesian island of Java as a key point of departure. Its "archipelagic" approach reflects a region of tanah air (land-water) where strategies of communication are shaped by the inevitability of difference and constant change. Archipelagic Cinemas foregrounds the outgrowth of local motion pictures from established regional modes of expression, such as touring vernacular theaters, known for their improvised assemblies of narratives and aesthetics from diverse places and times. Similarly, Southeast Asian movies distinguished themselves by rejecting the imposition of a single, sovereign, or necessarily masculine point of reference. Filmmakers responded to political and social shifts with populist shows of unruliness, mockery, and often horror while challenging binary interpretation of good and evil, self and other, and on- and off-screen space. A common cinematic "matrifocal gaze" takes the blurring of women's and men's roles in the region as a tool of engagement with nationalist contests over gender and power. Together, regional cinemas set the stage for a multifarious modern visuality rooted in the unique, intertwined histories of Southeast Asian nations"-- Provided by publisher.
A common esthetic theory? -- Mandalas, regional histories and archipelagic nationalisms -- "Culture bound" aesthetics and archipelagic form -- Tanah air and cinematic patchworks -- The afflicted apparatus -- Colliding regions, jumpy cowboys, foreign nation -- Archipelagic aesthetics, the nation and fissured post/colonial images -- Disruption vs. happy endings in India and Hollywood -- Southeast Asian cinemas and revolution -- Classical, national, regional, global and versions thereof -- Boeng, Ajo Boeng!! -- Smells like regional spirit -- Vernacular modernist theaters -- Promiscuous vernacular theaters, interactive modernist films -- The regional film market as modern pressure cooker -- Apparent anomalies and dualist cosmopolitanism -- Youthful old maid takes on Jakarta -- The matrifocal home vs. the modern boy -- Visuality, duality and blindness -- The matrifocal gaze as global anomaly? -- Histories made by women and men -- The matrifocal, the bomba and their urban afterlives -- New dictators, young activists and sex on screens -- New order, new instruments -- Cinematic critique and the "prostitution genre" -- The prostitute as seer and melodramatic amplifier -- Dictators, politicized prostitutes and urban mud in the Philippines -- Protest, prostitution and "flexible members" in Bangkok -- Prostitutes, conjugal dictators and the return of feminine actors -- Private ports in Laguna -- Bared rocks in Parangkusumo -- Supra-national icon -- Feminine spirits vs. Kiai-ex-machina -- The divisible feminine signifier -- A regional pantheon of national-political phantoms and spirit-doubles -- Canny regional ghosts, enduring archipelagic cinemas -- All roads lead to vernacular theaters -- Ghosts, holes and Soto reborn -- The neoliberal power couple -- The Thai new wave, the postmodern, and the reclamation of affect -- Regional infrastructures and the expansion of archipelagic imaginations -- Setanism, the archaic mother and the living female "ghost".
Includes bibliographical references and index.
Oakland, California : University of California Press, [2025]
Transpacific studies (Oakland, Calif.) ; 2