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Engendering ASEAN Identity: the Role of Film*
ERIA-DP-2015-75 ERIA Discussion Paper Series Engendering ASEAN Identity: The Role of Film* Jose Miguel R. de la ROSA Communication and Social Marketing Expert, Philippines November 2015 Abstract: The role of film, which is used here in generic terms to include audiovisual images as well as animation, in engendering the much-sought after Association of Southeast Asian Nations (ASEAN) identity is a necessary ingredient in the general framework of development leading to the realisation of the ASEAN Community. Film is an economic tool as it brings unquantifiable benefits to sectors participating in the industry. It is an effective information mechanism translating messages in more meaningful ways that appeal to the emotions. Film mirrors the cultural lives of people and reflects their heritage, values, and traditions. With the advancement in technology, film now comes in different platforms and formats, and is not confined to cinema or theatre. It becomes accessible through personal gadgets, the Internet, television (TV), cable TV, and digital versatile discs (DVDs). Thus, the reach and influence of films are vital in the people-oriented and people- centred agenda of an identity search and ensure that stakeholders down to the community level in all ASEAN member states (AMS) benefit from this approach. The ASEAN Socio-Cultural Community (ASCC) Blueprint clearly identifies the goals and strategies that AMS should support through the multilevel mechanisms in the Committee on Culture and Information (COCI), the Senior Officials Meeting Responsible for Information (SOMRI), and the ASEAN Ministers Responsible for Information (AMRI). This set of goals and strategies can be facilitated and implemented by collectively engaging government agencies in charge of film development in the AMS under the management of a technical expert group for this area and referred to as FILM ASEAN. -
Film Package
3TKARMA www.tina3t.com FEATURE FILM In pre-production and will be shooting on location in Vietnam and Canada. Feature Film Synopsis 3TKarma tells the miraculous story of Tina Tran, a strong-willed Vietnamese immigrant to Toronto with a hard past. It is a portrayal of her struggles and successes as she tries to support her family and live righteously in a new country. Being raised in a family with a Buddhist & spiritual background, her soul is known to be the same as Snow White, not the Disney masterpiece, but an ancient Vietnamese commander from the past. It is also believed that her late brother, who died when he and Tina were children back in Vietnam, had also been her one and only soul mate. Being lost without his spiritual guidance, Tina finds herself entangled in the fast life of sex, drugs, and To- ronto’s underground rave culture. Soon finding herself as a high roller in the nightlife scene, she is pushed to a point at which she knows she is in over her head. Through the effects of law enforcement and violence, her organi- zation starts to crumble until it is she who is in legal trouble. Tina’s arrest led her to discover her love 3TKarma through a Vietnamese lawyer, Anthony. With the help of Tina’s sister, Minh, Anthony is realized to be the carrier of her long lost soul mate’s spirit. However, the disparity be- tween the spiritual world and the physical reality we know brings upon peri- ods of denial and conflict that occur within the family. -
Title <Literature, Film and Culture in Southeast Asia> Twelve Sisters: A
<Literature, Film and Culture in Southeast Asia> Twelve Title Sisters: A Shared Heritage in Cambodia, Laos, and Thailand YAMAMOTO, Hiroyuki; BOONKHACHORN, Trisilpa; TUDKEAO, Chanwit; PHOLLURXA, Khamphuy; VAN, Sovathana; PAL, Vannarirak; HASHIMOTO, Sayaka; Author(s) OKADA, Tomoko; HIRAMATSU, Hideki; UABUMRUNGJIT, Chalida; DOUNG, Sarakpich; LUANGMOVIHANE, Dethnakhone; BOUANDAOHEUANG, Athidxay Citation Thailand P.E.N. Center. (2020): i-99 Issue Date 2020-09 URL http://hdl.handle.net/2433/256030 ©2020 YAMAMOTO Hiroyuki for selection and editorial material. Individual chapters, the contributors. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or Right other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Type Book Textversion publisher Kyoto University Literature, Film and Culture in Southeast Asia Twelve Sisters: A Shared Heritage in Cambodia, Laos, and Thailand Edited by YAMAMOTO Hiroyuki Thailand P.E.N. Center This edition published September 2020 by Thailand P.E.N. Center 2 Phichai Rd., Dusit District, Bangkok 10200 [email protected] ©2020 YAMAMOTO Hiroyuki for selection and editorial material. Individual chapters, the contributors. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including -
Gender and the Nation in Popular Cambodian Heritage Cinema
Gender and the Nation in Popular Cambodian Heritage Cinema A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES MAY 2014 by: Jessica Austin Thesis Committee: Miriam Sharma, Chairperson Barbara Watson-Andaya Jonathan Padwe Jonna Eagle Keywords: Cambodia, Cinema, Gender, Nation, Popular Culture, Sihanouk ii Dedicated to: My families, both near and far. iii Acknowledgements In researching this project for two years, I have been incredibly fortunate to receive the help, guidance, and friendship of a vast network of people living and working in Cambodia, Hawai'i, and the United States. None of this would have been possible without the support of the Center for Southeast Asian Studies at the University of Hawai'i-Manoa, and generous grants from the Moscotti Foundation. I am also indebted to Severine Wemaerae, Gilles Duval, Rithy Panh, and Davy Chou for allowing me to naively interrupt many proceedings of the Memory! International Film Heritage Festival 1st Edition so that I could dive head first into the world of film archives, preservation, and filmmaking in Cambodia. The employees of the Bophana Audio-Visual Archive in Phnom Penh were extremely patient with me while I watched films and asked them incessant questions about film heritage, for which I am so very grateful. The youth organizations I worked with, Kon Khmer Koun Khmer and Preah Soriya student group at RUPP, were extremely generous with their time, and I extend my gratitude to all of the members of those groups. -
BBG) Board from January 2012 Through July 2015
Description of document: Monthly Reports to the Broadcasting Board of Governors (BBG) Board from January 2012 through July 2015 Requested date: 16-June-2017 Released date: 25-August-2017 Posted date: 02-April-2018 Source of document: BBG FOIA Office Room 3349 330 Independence Ave. SW Washington, D.C. 20237 Fax: (202) 203-4585 The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. Broadcasting 330 Independence Ave.SW T 202.203.4550 Board of Cohen Building, Room 3349 F 202.203.4585 Governors Washington, DC 20237 Office of the General Counsel Freedom of Information and Privacy Act Office August 25, 2017 RE: Request Pursuant to the Freedom of Information Act - FOIA #17-058 This letter is in response to your Freedom of Information Act .(FOIA) request dated June 16, 2017 to the Broadcasting Board of Governors (BBG), which the Agency received on June 20, 2017. -
Introduction > Confucius Inc., Contents #40 Plato & Co
IIAS Newsletter 40 | Spring 2006 | free of charge | published by IIAS | P.O. Box 9515 | 2300 RA Leiden | The Netherlands | T +31-71-527 2227 | F +31-71-527 4162 | [email protected] | www.iias.nl . Lustre Press - Roli Books. Bollywood Nostalgia Sterling Investment Corp. Pvt. Ltd. / Sahai, Malthi. 2000. Sterling Investment Corp. , K.Asif dir., 1960. , K.Asif dir., Mughul E-Azam Madhu Bala in 40 The art of seduction The changing art of seduction: ritual courtship, performing prostitutes, erotic entertainment Bart Barendregt tal dancers such as Matahari and Little Egypt brought this art Guest editor of seduction to the West. Many descriptions of such arts, as critics like Edward Said, Rana Khabbani and Ashis Nandy have pp.1, 4-11 o the performing arts play a role in sexual selection? How shown, are based on misunderstandings, sometimes inten- Ddoes music influence mating practices in different cul- tional and generally say more about the western audience’s pp.12-15 tures? Can the performing arts create social settings where longing for a sensual other expressed through a depiction of sexual relationships germinate and grow – even where sex is the East as a place of lust and sexual pleasures. As a result, the a disruptive force, an arena for competition and conflict? And Orient has long been perceived through the seductive per- if so, where does this power of the performing arts come from? formances of its women, something that the journalist Sheri- dan Passo (2005) describes as the ‘Asian Mystique’. Given all pp.20-21 The performing arts everywhere play an important role in this, it is surprising how little is actually known about these expressing erotic feelings. -
Southeast Asian Film Festival Returns with an Expanded Showcase of the Region’S Most Compelling Cinematic Masterpieces
MEDIA RELEASE For Immediate Release Southeast Asian Film Festival Returns with an Expanded Showcase of the Region’s Most Compelling Cinematic Masterpieces 22 March (Friday) to 14 April (Sunday) 2013, Moving Image Gallery, SAM at 8Q 1 March 2013, Singapore – Celebrating the region’s best talent and most artistically interesting works in the moving image, the Singapore Art Museum (SAM) is proud to present the third Southeast Asian Film Festival (SEAFF). Curated and organised by SAM along with prominent film critic Philip Cheah and veteran arts administrator Teo Swee Leng, this annual Festival puts the spotlight on Southeast Asia through cinema as a powerful and compelling contemporary visual art genre. This year, SAM has expanded its offering to include shorts and feature-length Southeast Asian films, as well as a film-in-progress. Created by both established and up-and-coming directors from across the region including Cambodia, Indonesia, Malaysia, Myanmar, Philippines, Singapore and Thailand, the selection will bring Festival-goers on a journey to discover Southeast Asia today through the moving image. 18 of the films will be making their Singapore premieres. Since its inception three years ago, the festival has showcased film talent and cinematic works that bring to the forefront some of the most urgent contemporary challenges facing this vast and rapidly developing region. Opening with renowned Malaysian writer/director U-Wei Bin Haji Saari’s highly- anticipated return to screen, audiences will be treated to Saari’s first feature film in six years - Hanyut. Other established filmmakers to watch include Filipino director Lav Diaz who will showcase his six-hour long film Florentina Hubaldo, CTE as well as Indonesian Riri Rizar who will present the compelling and politically charged film Atambua 39° Celsius. -
Baahubali –A Milestone of Indian Cinema: Digital Marketing Case Study
Baahubali –A Milestone of Indian Cinema: Digital Marketing Case Study Sakshi Kotecha Namrata A Patil Giri Y. L SandipRakshit Sanjay Ghodawat Institute ([email protected]) ([email protected]) ISBN: 978-1-943295-08-1 ([email protected]) ([email protected]) Baahubali, advertised as the most expensive film that the country has ever produced. That it has clocked in 300crores ($48 million) worldwide in barely nine days at the box office. What’s more interesting, apart from the film itself, is that to achieve this feat without going overboard with aggressive marketing campaigns – yeah, no shoving down of paid-and-planted news down our throats, no nauseatingly incessant promotional tours by the cast on every other channel. What the makers did leverage, however, is the power of social media — not just around the release but also before it even went on floors. The result – Much like the meaning of its title – Baahubali – one with strong arms, the film created an organic hype, riding on its own shoulders. Thus, Baahubali is a great example of the power of digital marketing. For almost more than two years, the question ‘Why did Kattappa kill Baahubali?’ became a household topic of conversation and flooded social media with mimes and fan theories. Interestingly, two years before the release of the first part, a digital marketing team worked tirelessly to build its online presence and generate interest around the film since 2013. It went on to create the first Telugu hash tag on Twitter. Today, Baahubali has over 36 lakh likes on the Facebook page, 2.54 lakh followers on Twitter, 4.52 lakh subscribers on YouTube and still increasing day by day. -
Writing the Postcolonial City: Phnom Penh and Modernity During Sangkum Reastr Niyum, 1955-1970
Writing the Postcolonial City: Phnom Penh and Modernity during Sangkum Reastr Niyum, 1955-1970 by Siti Galang Keo A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter B. Zinoman, Chair Professor Kerwin Klein Professor Penelope Edwards Summer 2019 Abstract Writing the Postcolonial City: Phnom Penh and Modernity during Sangkum Reastr Niyum, 1955-1970 by Siti Galang Keo Doctor of Philosophy in History University of California, Berkeley Professor Peter B. Zinoman, Chair This dissertation examines novels, essays, films and songs of the Sangkum Reastr Niyum period, 1955-1970, to explore the layers of meanings Cambodians held of Phnom Penh. After the Geneva Accords in 1954, Phnom Penh emerged as the capital city of a newly independent nation-state, the Kingdom of Cambodia. The city under French colonial rule was secondary to Hanoi and Saigon, but once Indochina dissolved, its population exponentially increased. Phnom Penh was at the center of Cambodia’s road networks, its banking system, and was home to the best universities and schools. The many jobs and opportunities attracted rural migrants to the city. The population boom was one of the many ways Phnom Penh transformed. Norodom Sihanouk, then the head of state, made Phnom Penh the epicenter of government modernization projects. Under his watch, the capital transformed from being a marshy, provincial hub into an exciting scene of cosmopolitan innovation. Urban Cambodians combined ideas from Le Corbusier with traditional Khmer architectural details to design their “modern” buildings. -
Thai Cinema As National Cinema
Thai Cinema as National Cinema: An Evaluative History Patsorn Sungsri This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2004 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary educational institution ……………………………………………………… Abstract This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O’Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed—economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation’s text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema. Of particular relevance is this dissertation’s emphasis on three resilient and potent signifiers of Thai identity—nation, religion, and monarchy—and their interrelationship and influence in the development of Thai National Cinema. -
KON. the Cinema of Cambodia
Preface The editorial team in front of DMC building / Neang Eric on”, the title of this magazine, means “film” in Khmer. In this magazine, we want to talk both about the past and the present of Khmer film. The Cambodian film industry so far has not recovered from K the historic catastrophe of the Khmer Rouge reign of terror from 1975 to 1979. After brief spikes in production around 1990 and in the last decade, the situation today is rather bleak. Most of the once over 30 cinemas in Phnom Penh are closed and have been turned into restaurants, hotels and snooker halls. Only very few films, most of them cheap horror flicks, are being produced today. It wasn’t always like that. The years between 1960 and 1975 are known as the “Golden Age of Khmer Cinema” today. In that short period, the small country produced almost 400 films. Some of the big stars like Kong Sam Oeun, Vichara Dany or Dy Saveth supposedly starred in up to 100 productions. Only around 30 of these films survive, remnants of a national cinema that was full of miracles and beauty: Kings with magic powers, giants, witches, flying horses, gods that walk the earth and a girl with snakes instead of hair are only some of the sensations that the film makers of that time put on the screen despite the very limited technical means that they had at their disposal. But there were also contemporary stories that show a surprisingly cosmopolitan and modern country. And there were the films by His Majesty King Norodom Sihanouk, one of the most prolific film makers in Southeast Asia, who tried to use the medium of cinema as a tool for nation building. -
Mcämnðl Ékßrkm<Úca
Documentation Center of Cambodia First Quarterly Report 2004 page 1 mCÄmNÐlÉkßrkm<úCa DOCUMENTATION CENTER OF CAMBODIA Phnom Penh, Cambodia Quarterly Report: January-March 2004 www.dccam.org This report describes the Documentation Center of Cambodia’s (DC-Cam) activities for the first quarter of 2004 (January to March). It also cites challenges and constraints to our work, sets forth our strategies for improvement, and provides indicators of our performance and impact. 1. NARRATIVE REPORT 1.1 SUMMARY OF PROJECT ACTIVITIES AND IMPACTS In addition to continuing our progress on all of our core projects, we made some organizational adjustments in the previous quarter to address the challenges and demands for our work in 2004. Until November 2003, we had conceptually and functionally organized our work into seven major areas: mapping (which was focused on forensics work for much of 2003), documentation, microfilming, historical research, translation, publication, and our monthly magazine, Searching for the Truth. However, at our annual staff meeting held on November 14-15, 2003, we agreed that to proceed most effectively in 2004 and to present a clear picture of our work to donors, we needed to re-categorize our work. Certain projects (such as our Mapping Project) were nearing completion, while newer projects involving education, outreach, and efforts to promote accountability were growing rapidly. Our new conceptual structure reflects these changing work priorities. We now organize our work around five major areas: 1) documentation, 2) the promotion of accountability, 3) education and outreach, 4) research, translation and publication, and 5) Searching for the Truth magazine. Our progress in each area is summarized below.