Routledge Handbook of Southeast Asian Cinemas

Alicia Izharuddin is a Senior Visiting Fellow at the National University of Singapore. She is the author of Gender and Islam in Indonesian Cinema (2017)Patrick F. Campos is a curator-programmer and Professor at the Film Institute of the University of the Philippines Diliman. He is the author of The End of National Cinema: Filipino Film at the Turn of the Century (2016).

• Introduction: Region as Method, Cinema as Practice: Conditions of LegibilityPart I Figures and Genres of Desire: Gender, Stars, Archetypes1. Masculine Eroticism and the Occlusion of Southeast Asia: Queering a Region2. Malaysian Independent Films in the World: Malay Femininity as the Point of Global Contact3. Women Protagonists and Iconic Stars in Popular Philippine Cinema: Screening the Filipina4. Archetypes, Gender, and Imagination in Early Cambodian CinemaPart II Methods of Attention: Sonic and Sensorial Politics5. Music, Nostalgia, and the Burmese Socialist-Era Classic Thingyan Moe: You Broke My Heart on Mandalay Hill6. Western Music in the Japanese Occupation of Indonesia: Non-fiction Film as Ethnomusicological Reference7. Apichatpong Weerasethakul’s Political Field of Images: When Cinema ResonatesPart III Spaces and Places of Dwelling: Homes, Terminals, Assemblies8. Nostalgia and Urban Apartments in Two Films from Cambodia and Singapore: Tender Tenements9. Reflections on Technology, Distribution, Community, and Connection: The Mother of Invention10. Infrastructure and Mobility in Singapore: Tan Pin Pin’s walk walkPart IV Platforms and Communities: Archive, Distribution, Exhibition11. The Persistence of Liberatory Memory Work in Southeast Asian Cinema and Moving Image Practices12. Malaysian Indians and the Memories of Moviegoing13. Indonesian YouTube Series and Films: Mediating Regional Stories and Local Filmmakers’ Practice14. The In-Visibility of Film Festival Research in Southeast Asia: The State of the Field and Possible TrajectoriesPart V Polities, Counter-Publics, and the Making of Visibility15. Experimental Film and Video Activism in Indonesia: Peripheral Assembly16. The Loneliness of the Inveterate Malaysian-Movie Watcher17. Varieties of Political Cinema in Myanmar: Frames of ResistancePart VI (Trans)national Formations and Negotiation18. In Conversation with Davy Chou: What’s Lost Is Being Found19. An Emerging Bruneian Cinema: A Historical and National Cinema Perspective20. Geographies of Labor, Exclusions, and In-Betweenness in Southeast Asia: Ways of the Sea