Contents

pp 5-7

List of Illustrations

pp 7-8

Introduction: Southeast Asia on Screen: From Independence to Financial Crisis (1945–1998)

pp 9-32

Section 1 - Independence and Post-World War II Filmmaking: Nation-building, Modernity and Golden Eras

pp 33-34

Introduction: Independence and Post-World War II Filmmaking Nation-building, Modernity and Golden Eras

pp 35-36

1 - A Nation Imagined Differently: The Critical Impulse of 1950s Indonesian Cinema

pp 37-58

2 - The 1950s Filipino Komiks-to-Film Adaptation during the Studio Era

pp 59-74

3 - Pearl Tears on the Silver Screen: War Movies and Expanding Burmese Militarism in the Early Independence Years

pp 75-92

4 - Gender, Nation and Spatial Mobility in on Top of the Wave, on Top of the Wind

pp 93-110

5 - Spectacularity of Nationalism: War, Propaganda and Military in Indonesian Cinema during the New Order Era

pp 111-128

Section 2 - Key Directors

pp 129-130

Introduction: Key Directors

pp 131-132

6 - Two Auteurs in the Indonesian Cinema of the 1970s and 1980s: Sjuman Djaya and Teguh Karya

pp 133-152

7 - Hussain Haniff and the Place of the Auteur in Popular Malay Cinema

pp 153-170

8 - Ratana Pestonji and Santi Vina: Exploring the ‘Master’ of Thai Cinema during Thailand's ‘American Era’

pp 171-192

9 - Locating Mike de Leon in Philippine Cinema

pp 193-210

Section 3 - Popular Pleasures

pp 211-212

Introduction: Popular Pleasures

pp 213-214

10 - Nora Aunor vs Ferdinand Marcos: Popular Youth Films of 1970s Philippine Cinema

pp 215-232

11 - Transnational Exploitation Cinema in Southeast Asia: The Cases of Indonesia and the Philippines

pp 233-254

12 - Mapping Regional Ambivalence and Anxieties in They Call Her… Cleopatra Wong

pp 255-270

13 - The Boonchu Comedy Seriess: Pre-1990s Thai Localism and Modernity

pp 271-290

About the Authors

pp 291-294

Index

pp 295-303