Browse

This book explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. The book adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. The book reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War. The book elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. The book demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony. Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. This book reanimates this almost-forgotten history of cinema and the film industry in Asia.

This book tells the story of the Arab diaspora within the context of British and Dutch colonialism, unpacking the community's ambiguous embrace of European colonial authority in Southeast Asia. The book looks at colonial legal infrastructure and discusses how it impacted, and was impacted by, Islam and ethnicity. But more important, it follows the actors who used this framework to advance their particular interests. The book explains why Arab minorities in the region helped to fuel the entrenchment of European colonial legalities: their itinerant lives made institutional records necessary. Securely stored in centralized repositories, such records could be presented as evidence in legal disputes. To ensure accountability down the line, Arab merchants valued notarial attestation land deeds, inheritance papers, and marriage certificates by recognized state officials. Colonial subjects continually played one jurisdiction against another, sometimes preferring that colonial legal authorities administer Islamic law — even against fellow Muslims. The book demonstrates the interplay between colonial projections of order and their realities, Arab navigation of legally plural systems in Southeast Asia and beyond, and the fraught and deeply human struggles that played out between family, religious, contract, and commercial legal orders.

This book argues that the idea of colonial intimacy within the Japanese empire of the early twentieth century had a far broader and more popular influence on discourse makers, social leaders, and intellectuals than previously understood. The book investigates representations of Korean–Japanese intimate and familial relationships — including romance, marriage, and kinship — in literature, media, and cinema, alongside documents that discuss colonial policies during the Japanese protectorate period and colonial rule in Korea (1905–45). Focusing on Korean perspectives, the book uncovers political meaning in the representation of intimacy and emotion between Koreans and Japanese portrayed in print media and films. It disrupts the conventional reading of colonial-period texts as the result of either coercion or the disavowal of colonialism, thereby expanding our understanding of colonial writing practices. The theme of intermarriage gave elite Korean writers and cultural producers opportunities to question their complicity with imperialism. Their fictions challenged expected colonial boundaries, creating tensions in identity and hierarchy, and also in narratives of the linear developmental trajectory of modernity. Examining a broad range of writings and films from this period, the book maps the colonized subjects' fascination with their colonizers and with moments that allowed them to become active participants in and agents of Japanese and global imperialism.

This book explores an official vision of love, sex, and marriage in contemporary Japan. A comprehensive body of evidence describes a society characterized by a presupposed absence of physical and emotional intimacy, affection, and personal connections. The book finds that Japanese judges frequently opine on whether a person is in love, what other emotions a person is feeling, and whether those emotions are appropriate for the situation. Sometimes judges' views about love, sex, and marriage emerge from their presentation of the facts of cases. Among the recurring elements are abortions forced by men, compensated dating, late-life divorces, termination fees to end affairs, sexless couples, Valentine's Day heartbreak, “soapland” bath-brothels, and home-wrecking hostesses. Sometimes the judges' analysis, decisions, and commentary are as revealing as the facts. Sex in the cases is a choice among private “normal” sex, which is male-dominated, conservative, dispassionate, or nonexistent; commercial sex, which caters to every fetish but is said to lead to rape, murder, and general social depravity; and a hybrid of the two, which commodifies private sexual relationships. Marriage is contractual; judges express the ideal of love in marriage and proclaim its importance, but virtually no one in the court cases achieves it. Love usually appears as a tragic, overwhelming emotion associated with jealousy, suffering, heartache, and death.

How can the “voiceless” voice be represented? This primary question underpins this book's analysis of selected works by Buraku writer, Nakagami Kenji (1946–1992). In spite of his Buraku background, Nakagami's privilege as a writer made it difficult for him to “hear” and “represent” those voices silenced by mainstream social structures in Japan. This “paradox of representing the silenced voice” is the key theme of the book. Gayatri Spivak theorizes the (im)possibility of representing the voice of “subalterns,” those oppressed by imperialism, patriarchy, and heteronomativity. Arguing for Burakumin as Japan's “subalterns,” the book draws on Spivak to analyze Nakagami's texts. The first half of the book revisits the theme of the transgressive Burakumin man. This section includes analysis of a seldom discussed narrative of a violent man and his silenced wife. The second half of the book focuses on the rarely heard voices of Burakumin women from the Kiyuki trilogy. Satoko, the prostitute, unknowingly commits incest with her half-brother, Akiyuki. The aged Yuki sacrifices her youth in a brothel to feed her fatherless family. The mute Moyo remains traumatized by rape. The author's close reading of Nakagami's representation of the silenced voices of these sexually stigmatized women is this book's unique contribution to Nakagami scholarship.

What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of five traditional Noh plays and assesses the degree to which Issō School nohkan players maintain to this day the continuity of their musical traditions in three contemporary Noh plays influenced by William Butler Yeats. The book's ethnographic approach draws on interviews with performers and case studies, as well as the author's personal reflection as a nohkan performer and disciple under the tutelage of Noh masters. The book argues that traditions of musical style and usage remain influential in shaping contemporary Noh composition and performance practice, and the existing freedom within fixed patterns can be understood through a firm foundation in Noh tradition.

This book presents a historically and theoretically grounded political ethnography of the Thai military's counterinsurgency practices in the southern borderland, home to the greater part of the Malay-Muslim minority. The book argues that counterinsurgency practices mark the southern population as the racialized, religious, and gendered other of the Thai, which contributes to producing Thailand as an imperial formation: a state formation based on essentialized difference between the Thai and their others. Through a genealogical approach, the book addresses broad conceptual questions of imperial politics in a non-Western context: How can we understand imperial policing in a country that was never colonized? How is “Islam” constructed in a state that is officially secular and promotes Buddhist tolerance? What are the (historical) dynamics of imperial patriarchy in a context internationally known for its gender pluralism? The resulting ethnography excavates the imperial politics of concrete encounters between the military and the southern population in the ongoing conflict in southern Thailand.