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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.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright Page
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  1. Contents
  2. pp. vii-ix
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  1. Notes on Contributors
  2. pp. xi-xiii
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  1. List of Figures
  2. pp. xv-xvii
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  1. Acknowledgements
  2. pp. xix-xxi
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  1. Introduction: Independent Cinema in Southeast Asia
  2. pp. 1-10
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  1. I: Essays
  2. pp. 11-116
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  1. 1. Southeast Asian Independent Cinema: Independent of What?
  2. pp. 13-19
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  1. 2. Imagined Communities, Imagined Worlds: Independent Film from Southeast Asia in the Global Mediascape
  2. pp. 21-32
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  1. 3. Hinterland, Heartland, Home: Affective Topography in Singapore Films
  2. pp. 33-50
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  1. 4. Stealing Moments: A History of the Forgotten in Recent Singaporean Film
  2. pp. 51-58
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  1. 5. Fiction, Interrupted: Discontinuous Illusion and Regional Performance Traditions in Contemporary Thai Independent Film
  2. pp. 59-67
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  1. 6. Cinema, Sexuality and Censorship in Post-Soeharto Indonesia
  2. pp. 69-87
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  1. 7. Independent versus Mainstream Islamic Cinema in Indonesia: Religion Using the Market or Vice Versa?
  2. pp. 89-104
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  1. 8. Observational Documentary Comes to Indonesia: Aryo Danusiri’s Lukas’ Moment
  2. pp. 105-116
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  1. II. Documents
  2. pp. 117-151
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  1. 9. Four Manifestos
  2. pp. 119-124
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  1. 10. Why Ciplak ended up being made
  2. pp. 125-130
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  1. 11. Singapore GaGa Tours Singapore
  2. pp. 131-139
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  1. 12. The Downside of Digital: A German media critic plays devil’s advocate
  2. pp. 141-149
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  1. 13. I Sinema Manifesto
  2. p. 151
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  1. III. Interviews
  1. 14. “An inexpensive film should start with an inexpensive story”: Interview with Brillante Mendoza and Armando Bing Lao
  2. pp. 155-170
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  1. 15. “Digital is liberation theology”: Interview with Lav Diaz
  2. pp. 171-178
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  1. 16. “I make films for myself": Interview with Apichatpong Weerasethakul
  2. pp. 179-190
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  1. 17. “I love making films , but not getting films made”: Interview with Pen-ek Ratanaruang
  2. pp. 191-200
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  1. 18: “I want the people of Indonesia to see a different point of view, whether they agree with it or not”: Interview with Nia Dinata
  2. pp. 201-211
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  1. 19. “I do not have anything against commercial films": Interview with Eric Khoo
  2. pp. 213-226
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  1. 20. The Page and the (Video) Camera: Conversation with Amir Muhammad
  2. pp. 227-244
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  1. 21. “I want you to forget about the race of the protagonists half an hour into the film”: Interview with Yasmin Ahmad
  2. pp. 245-252
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  1. Notes
  2. pp. 253-261
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  1. Bibliography
  2. pp. 263-269
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  1. Index
  2. pp. 271-273
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