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).

"This Handbook adroitly explores, among others, Southeast Asian cinema’s diversity, casting new light on the regional, both raw and refined, and giving provocative insights into a diversity of film practices and cultures that are actually constructs in themselves, and that which has to be recognised. It takes invaluable account of the regional, that which has been occluded, seen as not being relevant or just simply ignored."-- Hassan Muthalib, author of Malaysian Cinema in a Bottle

• 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