This is a selection of titles on Asian cinema and films:
Glimpses of Freedom: Independent Cinema in Southeast Asia edited by May Adadol Ingawanij and Benjamin Mckay. Since the late 1990s, a vivid new sphere of cinematic practice in Southeast Asia has emerged and been identified as independent. What exactly does this term mean in relation to the way films and videos are made, and the way they look? How do issues of festival circulation, piracy, technology, state and institutional power, and spectatorship apply to practices of independent cinema throughout the diverse region? The authors who speak in this volume - contemporary filmmakers, critics, curators, festival organizers - answer these questions. They describe and analyze the emerging field of Southeast Asian cinema, which they know firsthand and have helped create and foster. Glimpses of Freedom is the outcome of a project collaboratively conceived by a new generation of scholars of cinema in Southeast Asia, inspired by the growing domestic and international visibility of notable films and videos from the region. Contributors include internationally esteemed independent filmmakers, critics, and curators based in Southeast Asia, such as Hassan Abd Muthalib, Alexis A. Tioseco, Chris Chong Chan Fui, and John Torres. International scholars such as Benedict Anderson, Benjamin McKay, May Adadol Ingawanij, and Gaik Cheng Khoo contextualize and theorize Southeast Asia's "independent film cultures." The interaction between practitioners and critics in this volume illuminates a contemporary artistic field, clarifying its particular character and its vital contributions to cinema worldwide.
Southeast Asian Independent Cinema edited by Tilman Baumgartel, Tilman. The rise of independent cinema in Southeast Asia, following the emergence of a new generation of filmmakers in this region, 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, Garin Nugroho, Nia Dinata and others.
Japanese Cinema Goes Global: Filmworkers' Journey by Yoshiharu Tezuka. Japan's film industry has gone through dramatic changes in recent decades, as international consumer forces and transnational talent have brought unprecedented engagement with global trends. With careful research and also unique first-person observations drawn from years of working within the international industry of Japanese film, the author aims to examine how different generations of Japanese filmmakers engaged and interacted with the structural opportunities and limitations posed by external forces, and how their subjectivity has been shaped by their transnational experiences and has changed as a result. Having been through the globalization of the last part of the twentieth century, are Japanese themselves and overseas consumers of Japanese culture really becoming more cosmopolitan? If so, what does it mean for Japan's national culture and the traditional sense of national belonging among Japanese people?
The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs by Choi Jinhee. For the past decade, the Korean film industry has enjoyed a renaissance. With innovative storytelling and visceral effects, Korean films not only have been commercially viable in the domestic and regional markets but also have appealed to cinephiles everywhere on the international festival circuit. This book provides both an industrial and an aesthetic account of how the Korean film industry managed to turn an economic crisis - triggered in part by globalising processes in the world film industry - into a fiscal and cultural boom. Jinhee Choi examines the ways in which Korean film production companies, backed by affluent corporations and venture capitalists, concocted a variety of winning production trends. Through close analyses of key films, Choi demonstrates how contemporary Korean cinema portrays issues immediate to its own Korean audiences while incorporating the transnational aesthetics of Hollywood and other national cinemas such as Hong Kong and Japan. Appendices include data on box office rankings, numbers of films produced and released, market shares, and film festival showings.
Children of Marx and Coca-Cola: Chinese Avant-Garde Art and Independent Cinema by Lin Xiaoping. Children of Marx and Coca-Cola affords a deep study of Chinese avant-garde art and independent cinema from the mid-1990s to the beginning of the 21st century. Informed by the author's experience in Beijing and New York - global cities with extensive access to an emergent transnational Chinese visual culture - this work situates selected artworks and films in the context of Chinese nationalism and post-socialism and against the background of the capitalist globalisation that has so radically affected contemporary China. It juxtaposes and compares artists and independent filmmakers from a number of intertwined perspectives, particularly in their shared avant-garde postures and perceptions.