Bared Rocks in Parangkusumo

Chapters in this book

1. Frontmatter I
2. Contents VII
3. Acknowledgments IX
4. Prologue
5. Introduction 1
6. A Common Aesthetic Theory? 3
7. Mandalas, Regional Histories, and Archipelagic Nationalisms 6
8. Chapter Breakdown 13
9. Beyond Academia 16
10. 1. “Culture Bound” Aesthetics and Archipelagic Form
11. Tanah Air and Cinematic Patchworks 18
12. The Afflicted Apparatus 23
13. Colliding Regions, Jumpy Cowboys, Foreign Nations 28
14. Archipelagic Aesthetics, the Nation, and Fissured Postcolonial Images 34
15. Disruption vs. Happy Endings in India and Hollywood 38
16. Southeast Asian Cinemas and Revolution 43
17. Classical, National, Regional, Global, and Versions Thereof 47
18. Boeng, Ajo Boeng! 51
19. 2. The Emergence of Archipelagic Aesthetics: Vernacular Theaters and Regional Modernisms
20. Smells like Regional Spirit 54
21. Vernacular Modernist Theaters 60
22. Promiscuous Vernacular Theaters, Interactive Modernist Films 66
23. The Regional Film Market as Modern Pressure Cooker 74
24. Apparent Anomalies and Dualist Cosmopolitanism 80
25. 3. Archipelagic Modernism and Traditions of Gender: The Matrifocal Gaze and the “Undecided” Modern Girl
26. Youthful Old Maid Takes On Jakarta 85
27. The Matrifocal Home vs. the Modern Boy 91
28. Visuality, Duality, and Blindness 98
29. The Matrifocal Gaze as Global Anomaly? 103
30. Histories Made by Women and Men 107
31. 4. Signatures of the Invisible: Southeast Asian Patriarchs and the Feminization of Resistance
32. The Matrifocal, the Bomba, and Their Urban Afterlives 116
33. New Dictators, Young Activists, and Sex on the Screen 120
34. New Order, New Instruments 123
35. Cinematic Critique and the “Prostitution Genre” 130
36. The Prostitute as Seer and Melodramatic Amplifier 135
37. Dictators, Politicized Prostitutes, and Urban Mud in the Philippines 144
38. Protest, Prostitution, and “Flexible Members” in Bangkok 154
39. Prostitutes, Conjugal Dictators, and the Return of Feminine Actors 161
40. 5. Monstrous Feminine Superheroes: The Order of the Other and Regional Screens
41. Private Parts in Laguna 168
42. Bared Rocks in Parangkusumo 172
43. Supranational Icon 179
44. Feminine Spirits vs. Kiai ex Machina 185
45. The Divisible Feminine Signifier 192
46. A Regional Pantheon of National-Political Phantoms and Spirit Doubles 196
47. Canny Regional Ghosts, Enduring Archipelagic Cinemas 203
48. 6. Reclaiming Affect: Freedom, Reform, and Many Historical Returns
49. Introduction 207
50. All Roads Lead to Vernacular Theaters 210
51. Ghosts, Holes, and Soto Reborn 214
52. The Neoliberal Power Couple 217
53. The Thai New Wave, the Postmodern, and the Reclamation of Affect 227
54. Regional Infrastructures and the Expansion of Archipelagic Imaginations 236
55. Setanism, the Archaic Mother, and the Living Female “Ghost” 240
56. Notes 249
57. References 261
58. Index 273