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By Wimal Dissanayake

"... a massive collective paintings for communique practitioners, scholars, and students who are looking to have a deeper realizing of movie making in Asia and of the merchandising of nationalism via communication." ―Media Asia

"... a momentous contribution to the examine of colonialism and postcoloniality in Asia... " ―The magazine of Asian Studies

"This is a wonderful version for stories in how the preferred, artwork, and experimental cinemas functionality within the attention of nationhood as a configuration of symbols.... This anthology offers an attractive dialogue via delivering a theoretical framework from which to ascertain the advanced subject matters of country, nation, id formation, and collective historical past within the realm of cinema. It turns into an excellent better instrument by means of taking part in itself out inside of a various Asian context." ―Afterimage

Essays research the illustration of the interlocking discourses of nationhood and background in Asian cinema, facing movie traditions in Japan, China, Taiwan, Korea, Vietnam, Thailand, Indonesia, India, Sri Lanka, and Australia.

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Example text

The cinema of Southeast Asian countries has begun to attract increasing attention as a result of the work of such directors as Lino Brocka, Ishmael Bernal, Euthana Mukdasnit, and Eros Djarot. In this volume, we highlight the cinematic traditions of three countries, Vietnam, Thailand and Indonesia. Annette Hamilton focuses on the dilemmas that arise for local Thai filmmakers who wish to improve the quality of their films and develop "realist" approaches, but face a popular taste which will not accept their projects and a state that seeks to exert close control over all forms of media.

Alternative histories of the same event open up multiple horizons and serve to challenge the homogenizing and monological narratives that have been served up as the only real ones, thereby undoing the totalizing proclivities reflected in traditional historymaking. The presence of diverse voices with their diverse stories is being increasingly recognized as important to the construction of history. Just as much as the discourse of nationhood is challenged, pluralized, subverted, and deconstructed so is the discourse of history being subjected to the same antihegemonic and centrifugal forces.

As a recent commentator has observed, countermemory looks to the past for the hidden histories excluded from dominant narratives. But unlike myths that seek to detach events and actions from the fabric of any larger history, countermemory forces revisions of existing histories by supplying new perspectives about the past. Films, mainly representatives of the avantgarde and Third Cinema, can be extremely illuminating in this regard. Cinema can be extremely effective in persuading us to deconstruct the putatively unified narrative of nationhood by focusing on the diverse elements that go to form it as well as by urging us to take a second look at certain wellaccepted positionalities.

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