ORCID Profile
0000-0001-7467-5850
Current Organisation
Australian National University
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Publisher: Intellect
Date: 09-2011
DOI: 10.1386/AC.21.2.7_1
Publisher: Penerbit Universiti Sains Malaysia
Date: 2017
Publisher: WORLD SCIENTIFIC
Date: 18-10-2022
Publisher: Routledge
Date: 05-12-2014
Publisher: Brill
Date: 09-07-2021
DOI: 10.1163/22134379-BJA10027
Abstract: Dewi pulang (Dewi goes home), the 2016 short film by Candra Aditya, offers a means to redefine the meaning of independence for contemporary Indonesian screen production. In the years of Reformasi following the end of the New Order, to be independent was to be in solidarity with the reform movement, and to express a DIY sensibility that did not rely on big production companies or the state. In recent years, the meaning of independence has been complicated by a changing cultural economy of film, including the accommodation of many previously independent filmmakers into the mainstream. Rather than seeing independence embodied in the film or filmmaker, this essay considers the history of short film and the foundational role of komunitas (communities) as the location for independent media practice. Independence is theorized as a characteristic of the assemblage of organizations, events, and infrastructures that facilitate the production, circulation, and consumption of short film.
Publisher: University of Nebraska Consortium of Libraries - UNCL
Date: 2021
DOI: 10.32873/UNO.DC.JRF.25.1.005
Abstract: This is a book review of Tom Rice, Films for the Colonies: Cinema and the Preservation of the British Empire (University of California Press, 2019).
Publisher: Routledge
Date: 07-12-2018
Publisher: Cambridge University Press (CUP)
Date: 19-04-2017
DOI: 10.1017/TRN.2017.3
Abstract: Colonial subjects caught up supporting colonialism have often been seen as either engaging in an encounter of ambivalence or seen as traitors in post-independence nationalist historiography. Rather than following this established binary of possible subject positions, this article considers the unique biography of a filmmaker known in Indonesia as Dr Huyung. Prior work on Dr Huyung has either considered the pre and post 1945 stages of his life in isolation thus making incomplete assessments of his life and contributions. By bringing these two periods into conversation, a complete biography enables a more complex idea of colonial subjectivity to emerge. Huyung's life provides an alternative history of colonialism and an entry point in which to interrogate the limits and opportunities available in Asia of the 1930s to 1950s. This article traces the life of Dr Huyung from his birth in Korea as Hoe Yong, his life under Japanese occupation when he became Hinatsu Eitaro and moved to Japan to study film, to Indonesia as a Japanese propaganda officer, and finally to a new identity as Dr Huyung in independent Indonesia. As a trans-national subject operating across multiple subject positions – including colonial subject, colonial agent, and supporter of independence – this article challenges how subjectivity is thought about under colonialism and the historiography of national cinema in Indonesia, and contributes to understand his role in helping define and shape arts and culture in post-colonial Indonesia.
Publisher: Intellect
Date: 09-2010
DOI: 10.1386/AC.21.2.25_1
Publisher: Informa UK Limited
Date: 14-06-2021
Publisher: World Scientific Pub Co Pte Lt
Date: 03-2018
DOI: 10.1142/S1013251118400027
Abstract: To date Malaysia has occupied a peripheral position in studies of Chinese cinemas and East Asian pop culture, often overlooked in favor of the more productive centers in Hong Kong, Taiwan, and increasingly China. By engaging with the field of Chinese transnationalism as developed by Aihwa Ong and others, this paper reconsiders Malaysia’s place in the broader Chinese media landscape and the role of Chinese Malaysians as agents driving Malaysia’s engagement with Taiwan, Hong Kong, and China. Focusing on Malaysia, this paper explores Malaysia’s screen connections to China through the two vectors of Malaysian migration and Chinese co-productions entering Malaysia. Increasingly, Malaysian creative workers who are already quite mobile are moving in increasing numbers to Mainland China and working on Chinese entertainment projects. Primarily, they take on intermediary roles within China’s growing entertainment industries which need cosmopolitan, multi-lingual creative labor as it increasingly globalizes and seeks foreign partners. Conversely, as China’s industry expands outwards, it seeks co-production partners and locations and has found Malaysia to be conducive. In outlining this new screen industry relationship, this paper suggests cultural and economic implications and futures for Chinese cinemas in Southeast Asia and the role of Malaysia’s ethnic Chinese population.
No related grants have been discovered for Thomas Alexander Charles Barker.