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Official Gazette
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Celluloid Singapore
Celluloid Singapore is a ground-breaking study of the three major periods in Singapore's fragmented cinema history, namely the golden age of the 1950s and 60s, the post-studio 1970s, and the revival from the 1990s onwards.
Eating Chilli Crab in the Anthropocene
In this era of climate crisis, in which our very futures are at stake, sustainability is a global imperative. Yet we tend to associate sustainability, nature, and the environment with distant places, science, and policy. The truth is that everything is environmental, from transportation to taxes, work to love, cities to cuisine. This book is the first to examine contemporary Singapore from an ecocultural lens, looking at the ways that Singaporean life and culture is deeply entangled with the nonhuman lives that flourish all around us. The authors represent a new generation of cultural critics and environmental thinkers, who will inherit the future we are creating today. From chilli crab to Tiger Beer, Changi Airport to Pulau Semakau, O-levels to orang minyak films, these essays offer fresh perspectives on familiar subjects, prompting us to recognise the incredible urgency of climate change and the need to transform our ways of thinking, acting, learning, living, and governing so as to maintain a stable planet and a decent future.
Shōjo Across Media
Since the 2000s, the Japanese word shōjo has gained global currency, accompanying the transcultural spread of other popular Japanese media such as manga and anime. The term refers to both a character type specifically, as well as commercial genres marketed to female audiences more generally. Through its diverse chapters this edited collection introduces the two main currents of shōjo research: on the one hand, historical investigations of Japan’s modern girl culture and its representations, informed by Japanese-studies and gender-studies concerns; on the other hand, explorations of the transcultural performativity of shōjo as a crafted concept and affect-prone code, shaped by media stud...
Seeing Things
"In 1980s India, the Ramsay Brothers and other filmmakers produced a wave of horror movies about soul-sucking witches, knife-wielding psychopaths, and dark-caped vampires. Seeing Things is about the sudden cuts, botched prosthetic effects, continuity errors, and celluloid damage in these movies. Such moments may very well be "failures" of various kinds, but in this book Kartik Nair reads them as clues to the conditions in which the films were once made, censored, and seen, offering a view from below of the world's largest film culture. Combining extensive archival research and original interviews with close readings of landmark films including Purana Mandir, Veerana, and Jaani Dushman, this book tracks the material coordinates of horror cinema's spectral images. In the process, Seeing Things discovers a spectral materiality-one that informs Bombay horror's haunted houses, grotesque bodies, and graphic violence and gives visceral force to our experience of the genre's globally familiar conventions"--
Employees of Permanent Missions to the United Nations
List of persons accepted by the Dept. of State as entitled to the benefits of the provisions of the International Organizations Immunities Act.
Singapore Cinema
This book outlines and discusses the very wide range of cinema which is to be found in Singapore. Although Singapore cinema is a relatively small industry, and relatively new, it has nevertheless made an impact, and continues to develop in interesting ways. The book shows that although Singapore cinema is often seen as part of diasporic Chinese cinema, it is in fact much more than this, with strong connections to Malay cinema and the cinemas of other Southeast Asian nations. Moreover, the themes and subjects covered by Singapore cinema are very wide, ranging from conformity to the regime and Singapore’s national outlook, with undesirable subjects overlooked or erased, to the sympathetic depiction of minorities and an outlook which is at odds with the official outlook. The book will be useful to readers coming new to the subject and wanting a concise overview, while at the same time the book puts forward many new research findings and much new thinking.
The Asian Cinema Experience
This book explores the range and dynamism of contemporary Asian cinemas, covering East Asia (China, Japan, South Korea, Hong Kong, Taiwan), Southeast Asia (Thailand, Singapore, Malaysia), South Asia (Bollywood), and West Asia (Iran), in order to discover what is common about them and to engender a theory or concept of "Asian Cinema". It goes beyond existing work which provides a field survey of Asian cinema, probing more deeply into the field of Asian Cinema, arguing that Asian Cinema constitutes a separate pedagogical subject, and putting forward an alternative cinematic paradigm. The book covers "styles", including the works of classical Asian Cinema masters, and specific genres such as ho...
Popular Film Music and Masculinity in Action
Amanda Howell offers a new perspective on the contemporary pop score as the means by which masculinities not seen—or heard—before become a part of post-World War II American cinema. Popular Film Music and Masculinity in Action addresses itself to an eclectic mix of film, from Elvis and Travolta star vehicles to Bruckheimer-produced blockbuster action, including the work of musically-innovative directors, Melvin Van Peebles, Martin Scorsese, Gregg Araki, and Quentin Tarantino. Of particular interest is the way these films and their representations of masculinity are shaped by generic exchanges among contemporary music, music cultures, and film, combining American cinema's long-standing in...
The Western in the Global South
The Western in the Global South investigates the Western film genre's impact, migrations, and reconfigurations in the Global South. Contributors explore how cosmopolitan directors have engaged with, appropriated, and subverted the tropes and conventions of Hollywood and Italian Westerns, and how Global South Westerns and Post-Westerns in particular address the inequities brought about by postcolonial patriarchy, globalization and neoliberalism. The book offers a wide range of historical engagements with the genre, from African, Caribbean, South and Southeast Asian, Central and South American, and transnational directors. The contributors employ interdisciplinary cultural studies approaches to cinema, integrating aesthetic considerations with historical, political, and gender studies readings of the international appropriations and U.S. re-appropriations of the Western genre.
