1,720,961 research outputs found
Passing and conversion narratives : Ayat-Ayat Cinta and Muslim performativity in contemporary Indonesia
No full text22 page(s
Film review : 'Tales of the Waria' and 'Children of Srikandi'
No full textFilm review of two documentaries: 'Tales of the Waria', written, produced and directed by Kathy Huang (2011); and 'Children of Srikandi', directed by The Children of Srikandi Collective, produced by Laura Coppens and Angelika Levi (2012).5 page(s
Cultural Identity and Female Representation in Indonesian Women\u27s Magazines
Full text linkDewasa ini banyak media massa cetak diterbitkan oleh dan untuk perempuan. Majalah yang demikian lazim disebut majalah wanita. Sebagian besar mahalah wanita diterbitkan oleh orang INdonesia (majalah wanita Indonesia); sebagian yang lain merupakan majalah asing yang diterbitkan di Indonesia (edisi Indonesia). Dalam tulisan ini dimuat perbandingan isi kedua kelompok majalah wanita tersebut, yang dikaitkan dengan isu tentang perempuan. Dari perbandingan, tampak bahwa isu modernitas, yang terutama diusung majalah wanita asing edisi Indonesia, mempengaruhi tampilan isi majalah wanita Indonesia
The vernacular sonorities of the memory film in Southeast Asia
No full textReferring to the experience of anamnesis, sound theorists Jean-François Augoyard and Henry Torque claim that through sound’s association with memory and perception, it has the ability to span vastly different scales that are both temporal and spatial. The memory film often uses music and sound to provide a bridge between the present and the past, a technique that has particular resonance in the absence of official archives. Taking sound as its primary focus, this chapter considers the vernacular sonorities of the memory film in Southeast Asia. Bringing into relation Apichatpong Weerasethakul’s Mysterious Object at Noon (2000) and Shireen Seno’s Big Boy (2012), the chapter explores how anachronistic layering of different sonic phenomena in Apichatpong’s and Seno’s work foregrounds the interrelatedness of personal and social memory in the parallel political and historical contexts of Thailand and the Philippines
Global Aspirations/Local Affiliations: Exploring the Tensions of “Post-Crisis” Thai Cinema, 1997–2004
No full textPen-ek Ratanaruang’s 1999 movie, Rueang talok 69, exemplifies the cultural effects of Thailand’s Tom Yam Kung economic crisis that befell the country two years earlier. Its plot suggests a necessary retreat from the globalized, materialistic, and hence corrupted environment of Bangkok to the simplicity of the countryside. As such, it echoes the self-sufficiency advice proffered by King Rama IX in his speech of 1998. I reflect on the complex positionality of Thailand’s “new wave” directors in relation to globalization, whereby their aspirations for international recognition are countered by their persistent affiliation to the national, the local, and the rural by way of subject matter. Arguing for the double image of the rural as an idyllic refuge and unruly periphery, I view the closing scenes of Rueang talok 69 and Nonzee Nimibutr’s Nang Nak through the lens Siam/Thailand’s semi-colonial relationship to the West. Cognizant of the continuity that filmmaking of this period draws between past and present, further exemplified by Suraphong Phinijkhar’s 2004 movie Thawiphop, I conclude that the aspirations of Thailand’s “new wave” of filmmakers to international recognition and success, despite their rejection of globalization at the narrative level, can be understood in relation to the country’s history of semi-colonial desire
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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