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Contemporary Indonesian Film
Author: Katinka Van Heeren
language: en
Publisher: Brill Academic Publishers
Release Date: 2013-11-25
This highly informative book explores the world of Post-Soeharto Indonesian audio-visual media in the exiting era of Reform. From a multidisciplinary approach it considers a wide variety of issues such as mainstream and alternative film practices, ceremonial and independent film festivals, film piracy, history and horror, documentary, television soaps, and Islamic films, as well as censorship from the state and street. Through the perspective of discourses on, and practices of film production, distribution, and exhibition, this book gives a detailed insight into current issues of Indonesia s social and political situation, where Islam, secular realities, and ghosts on and off screen, mingle or clash."
The BFG
‘We is in Dream Country,’ the BFG said. ‘This is where all dreams is beginning.’ This beautiful edition of The BFG, part of The Roald Dahl Classic Collection, features official archive material from the Roald Dahl Museum and is perfect for Dahl fans old and new. So, enter a world where invention and mischief can be found on every page and where magic might be at the very tips of your fingers . . . The Roald Dahl Classic Collection reinstates the versions of Dahl’s books that were published before the 2022 Puffin editions, aimed at newly independent young readers.
Hong Kong Cinema
Examining Hong Kong cinema from its inception in 1913 to the end of the colonial era, this work explains the key areas of production, market, film products and critical traditions. Hong Kong Cinema considers the different political formations of Hong Kong's culture as seen through the cinema, and deals with the historical, political, economic and cultural relations between Hong Kong cinema and other Chinese film industries on the mainland, as well as in Taiwan and South-East Asia. Discussion covers the concept of 'national cinema' in the context of Hong Kong's status as a quasi-nation with strong links to both the 'motherland' (China) and the 'coloniser' (Britain), and also argues that Hong Kong cinema is a national cinema only in an incomplete and ambiguous sense.