10. Nora Aunor vs Ferdinand Marcos. Popular Youth Films of 1970s Philippine Cinema

Kapitel in diesem Buch

1. Frontmatter 1
2. Table of Contents 5
3. List of Illustrations 7
4. Introduction 9
5. Section 1. Independence and Post-World War II Filmmaking: Nation-building, Modernity and Golden Eras
6. Introduction: Independence and Post-World War II Filmmaking : Nation-building, Modernity and Golden Eras 35
7. 1. A Nation Imagined Differently. The Critical Impulse of 1950s Indonesian Cinema 37
8. 2. The 1950s Filipino Komiks-to-Film Adaptation during the Studio Era 59
9. 3. Pearl Tears on the Silver Screen. War Movies and Expanding Burmese Militarism in the Early Independence Years 75
10. 4. Gender, Nation and Spatial Mobility in On Top of the Wave, on Top of the Wind 93
11. 5. Spectacularity of Nationalism. War, Propaganda and Military in Indonesian Cinema during the New Order Era 111
12. Section 2. Key Directors
13. Introduction: Key Directors 131
14. 6. Two Auteurs in the Indonesian Cinema of the 1970s and 1980s : Sjuman Djaya and Teguh Karya 133
15. 7. Hussain Haniff and the Place of the Auteur in Popular Malay Cinema 153
16. 8. Ratana Pestonji and Santi Vina. Exploring the ‘Master’ of Thai Cinema during Thailand’s ‘American Era’ 171
17. 9. Locating Mike de Leon in Philippine Cinema 193
18. Section 3. Popular Pleasures
19. Introduction: Popular Pleasures 213
20. 10. Nora Aunor vs Ferdinand Marcos. Popular Youth Films of 1970s Philippine Cinema 215
21. 11. Transnational Exploitation Cinema in Southeast Asia. The Cases of Indonesia and the Philippines 233
22. 12. Mapping Regional Ambivalence and Anxieties in They Call Her… Cleopatra Wong 255
23. 13. The Boonchu Comedy Series. Pre-1990s Thai Localism and Modernity 271
24. About the Authors 291
25. Index 295