Call for Panels, Roundtables, Laboratories, EUROSEAS conference 2017, Oxford

CALL FOR PANELS EUROSEAS CONFERENCE 2017

Welcome to the website of the European Association for Southeast Asian Studies (EuroSEAS), the world’s largest organisation devoted to the study of Southeast Asia. EuroSEAS aims to stimulate scholarly cooperation within Europe in the field of Southeast Asian studies. It was founded in 1992 and EuroSEAS members work primarily in the humanities and social sciences, from archeology to economics, from anthropology to linguistics, and from art history, literature, theatre studies to religious studies.The main EuroSEAS activity is the organization of an international conference bringing together hundreds of specialists on Southeast Asia from all over the world. So far, conferences have been held respectively in Leiden (1995), Hamburg (1998), London (2001), Paris (2004), Naples (2007), Gothenburg (2010), Lisbon (2013) and Vienna (2015). 

CALL FOR PANELS EUROSEAS CONFERENCE | 16-18 AUGUST 2017The European Association for Southeast Asian Studies (EuroSEAS) will hold its 9th conference from 16 to 18 August 2017 at the University of Oxford. As an international and multi-disciplinary organisation, EuroSEAS invites scholars and PhD students from all academic disciplines with an interest in Southeast Asia to submit panels that explore relevant research topics from an interdisciplinary perspective as well as discuss theoretical and methodological aspects of research generated in the field of Southeast Asian Studies. Proposals are also invited for a limited number of roundtable discussions about recent developments in Southeast Asia and for laboratories that would develop cross-disciplinary collaboration.

PANELSPanels consist of a convener, 3-4 presenters, and if possible, a discussant. Double sessions of max 6 presentations are allowed. We invite panels on a wide range of topics in the social sciences and humanities of Southeast Asia. We prefer panels with a geographical comparative approach and panels that cross disciplinary boundaries. We especially invite panels on climate change, literature, performing arts, and archaeology – fields that were underrepresented in previous conferences.

Submission format: (1) title, (2) convener, (3) brief description of panel, max ½ page, (4) single session (1 x 90 min.): 3-4 presenters; double session (2 x 90 min.): 6 presenters, (5) optional: discussant.

ROUNDTABLESRoundtables address current issues and new developments, and consist of a convener and max. 6 participants who prepare brief statements followed by audience discussion.

Submission format: (1) title, (2) convener, (3) explain in ½ page urgency of topic, (4) max 6 presenters.

LABORATORIES
Laboratories are closed meetings for young scholars to develop innovative cross-disciplinary plans. Laboratories run for half a day and consist of a convener and max 8 participants. Towards the end of the conference conveners will present the results of these meetings to a larger audience.

Submission format: (1) title, (2) convener, (3) explain in ½ page plans for discussion and collaboration, (4) max 8 participants.

DEADLINES
Please send your proposals to: euroseas@kitlv.nl by 31 October 2016.

ONLINE REGISTRATION AND PAYMENT
Official registration at the EuroSEAS website will start from 1 December 2016 onwards.

CONFERENCE FEES
tba
Plus EuroSEAS membership fee (to be paid by all participants) 30,00 Euros.

GENERAL CONDITIONS AND TERMSClick here to read the general conditions and terms for participants of the EuroSEAS conference...>>

MEMBERSHIP EUROSEASParticipants of the EuroSEAS conferences are automatically member of EuroSEAS until the next conference. It is also possible to become a member without visiting the conference. The membership fee is € 30 (for two years). For more information, please send an email to Yayah Siegers-Samaniri (secretariat EuroSEAS): euroseas@kitlv.nl. 

Bagaimana Mencari Film Jadul Indonesia?

 Ada banyak sumber cari film jadul indonesia asli 
(1) sinematek indonesia 
(2) Karyamas Vision (Hayam Wuruk Glodok Harco,021-6244789) & Navirindo Audio Visual (0214205444, navirindo@cbn.net.id) . Sekarang sudah makin jarang, dan adanya di Glodok dengan paket jumbo, misalnya 8 in 1, dan ada temanya: Film-Film Barry Prima, atau Film-Film Perjuangan

(3) sebuah toko kasud di chow kit, kuala lumpur punya vcd2 film indonesia asli dengan distributor dari malaysia 
(4) khususnya 16mm di berbagai pemilik layar tancap 
(5) film2 yang diekspor di tahun 1980an banyak bootlegnya dan diterbitkan ulang, antara lain oleh mondomacabrodvd dan troma team. 
(6) kadang ada yg dapat aja 35mm nya seperti "darna ajaib" diputar di pusan dan "duo kribo" di kineforum 
(7) ada yg sudah direstorasi seperti lewat djam malam, tiga dara, dan film2 warkop/benyamin/rhoma irama yg hak2nya ada di falcon.

Sungguh Keterlaluan: Kesan Awal Buku "Sinema di Masa Sukarno"

SUNGGUH KETERLALUAN!

Mengutip film “Badut-Badut Kota”: Sungguh Keterlaluan buku “Sinema Pada Masa Sukarno”, Pak Tanete, Mas Seno, dan segala diskusinya. Sungguh keterlaluan, mengapa buku ini baru beredar sekarang, di tengah-tengah saya sedang dalam tahap akhir penulisan tesis saya. Kenapa tidak dari dulu-dulu?

 

Tentu saja saya belum baca buku ini. Tapi melihat diskusi itu, ada beberapa perasaan yang campur aduk. Pertama, tentu saja sangat bergembira setengah mupeng, ingin sekali membaca dan menelaahnya. Kedua, ingin berucap: Sungguh keterlaluan. Mengapa?

 

1. Melihat dari diskusi itu, saya melihat bahwa salah satu sumbangan terbesar buku ini adalah dalam hal metodologi dan metode penelitian. Sumber primer dari mana saja, termasuk koran kuning. “tidak ada hirarki teks”, kata mas Seno.  Dan penelitiannya berfokus pada konteks, bukan lagi pada teks atau estetika film.
   Saya harus meraba-raba dari mana mulai, saat awal-awal riset dimulai. Akhirnya saya menemukan istilah “New Cinema History” yang mengupas film dari sisi ekstrinsik, bukan intrinsik. Misalnya, dibahas di buku Maltby (2011). Intinya, pendekatan semacam ini mempertimbangkan sirkulasi dan konsumsi dan untuk menelaah sinema sebagai situs sosial dan pertukaran budaya.
   Buku lainnya ditulis oleh James Chapman, Mark Glancy, and Sue Harper, berjudul The New Film History: Sources, Methods, Approaches.  Yaitu, investigasi empiris yang menganalisa sumber primer yang dikaitkan dengan produksi dan resepsi film.
   INTINYA, bagaimana film dibentuk oleh kombinasi dari proses sejarah.
   Eric Schaefer, misalnya, dalam Daring! Shocking! True! A History of Exploitation Films, 1919-1959, mnenyatakan metodenya sebagai  “Empirical Imperative”.

 Sebelumnya, ada juga  Thomas Elsaesser dkk yang mulai membuat metode ini ngetren.

Kini, sudah ada beberapa penelitian dengan pendekatan seperti ini, sebenarnya. Nah, mengapa bukunya pak Tanete penting: Karena (1)  ini ditulis 47 tahun lalu, sebelum gerakan ini terkenal, (2) dan tentang film Indonesia, (3) dan konteksnya adalah saat elit budaya sedang giat-giatnya menghegemoni dengan bingkaian konsep  “film nasional” versi mereka, (4) dan kajiannya (akademis, popular, jurnalistik) didominasi oleh estetika atau sisi intrinsik film.

Saya sendiri, sedang meneliti “Film di Jaman Suharto”, dengan amatan khusus ke film-film eksploitasi/B.  saya juga memakai majalah, koran, buku acara, dll. Dan sedikit banyak, analisa saya melawan arus pemikiran para elit budaya--para pemikir yang karya-karyanya saya baca dan  gemari.  Ini selaras dengan semangat akademis di kampus saya, University of East Anglia, yang menekankan kajian arsip dan juga kajian kepenggemaran dan kepenontonan (politik budaya, ekonomi budaya, dll) selain kajian film-B.

Tapi, buku itu ditulis 47 tahun lalu,  oleh akademisi Indonesia dan mengambil kasus Indonesia.  Sungguh keterlaluan, mengapa buku ini baru terbit sekarang? :)


Jadi, saya kira buku ini sangat relevan dan menjadi pemicu semangat saya. Nah masalah kedua:

2 Hasil akhir buku Pak Tanete, menurut Mas Seno, adalah mengalir lancar dan penting. Juga mengungkap hal-hal baru yang belum dikenal atau melawan pengetahuan umum tentang film.   Saya jadi merenung, bagaimana dengan karya saya? Apakah penelitan saya nantinya akan sepenting ini, dan dampak/manfaatnya bisa seluas itu? Riset saya memang belum selesai, tapi semoga bisa menyumbangkan sesuatu bagi kebijakan publik, kajian film dan sejarah, dan kajian film dan budaya/media pada umumnya.

 

 

https://www.youtube.com/watch?v=30EL5AH5-EI&feature=youtu.be

 

My Abstract at ASEASUK Conference, September 2016

As you probably know,  I am co-organizing a panel at ASEASUK (Association of Southeast Asian Studies in the UK) with Tito Imanda. The panel's title is The Politics of Tastes in Southeast Asian Cinema. The conference will be held at SOAS University of London, 16-18 September.

unfortunately, last month, a presenter in our panel has withdrawn from the conference. So, we decided to put my own abstract as the substitute.

Here's the abstract:

 The Politics of Tastes of New Order’s Cultural Elites 

As non-state agents, cultural elites along with the government played important roles in cultural history of Indonesia in New Order period (1966-1998). Krishna Sen overviews history of Indonesian Cinema in New Order in one sentence: “The New Order inherited a cinema that expressed a highly individualist and elitist approach to society” (Sen 1994, 94). In the Indonesian context, culture elites are a group of prominent figures who share the same ideology and mostly belong to nationalist wing who try to play a role as, In Toynbee’s term, a group of “creative minority”. Krishna Sen describes them as “the tiny urban, educated, national political elites, which since independence had been bound by personal ties that bridged ‘conflict of interest’ and ideology” (Sen 1994, 27). The phenomenon can be read in articles written by most prominent film critics, journalists, historians, and academia such as Asrul Sani (poet, cultural thinker, prominent writer, award-winning scriptwriter, director), Rosihan Anwar (senior journalist), Sumardjono (filmmaker), Misbach Jusa Biran (film historian, founder of Sinematek Indonesia, filmmaker), and Salim Said (film scholar). They also played roles in some film institutions and organizations, such as Festival Film Indonesia, censorship board, National Film Council (Dewan Film Nasional). They wanted to frame Indonesian film to fit in the concept of film nasional (national film), where the goals were to “search Indonesian faces on screen” (1978) and should be “with cultural and educational purposes” (Film Kultural Edukatif, 1982-1983) (2010). In this paper, I will elaborate why and how Indonesian cultural elites in New Order era have tried to exclude local exploitation films from the discourses of concept and official history of national cinema and national film cultures, and tried to negotiate with various kinds of politics of tastes. By investigating archives such as film policies and media clippings, I will underline the taste battle between the government and cultural elites and other stakeholders, namely local film producers-distributors-exhibitors (including Layar Tancap/traveling cinema companies), and domestic mainstream audience, as well as international distributors.


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To read all of  the panels and abstracts, click here
For the schedule: here
For film-related panels: here

SOUTHEAST ASIAN CULT CINEMA DOUBLE BILL: LADY TERMINATOR & THE KILLING OF SATAN

FYI, I am co-organizing this event. If you are around, please do come! :)

Scalarama's  Asian Cult Cinema Double Bill: Indonesia's Lady Terminator and The Philippines' The Killing of Satan (in 35mm!) , Cube Microplex, Bristol, Saturday 10 September, 19.00.
And a discussion session with Mondo Macabro's Pete Tombs 

Tickets: £7 / 6 (conc)

A mind bending double bill of South East Asian cult lunacy!

Indonesia’s “Lady Terminator” combines the folktale of legendary Javanese South Sea Queen and James Cameron’s Terminator.

“The Killing of Satan” is a wild Filipino fantasy horror film, about a man who fights Satan to rescue his daughter. Screened in 35mm format!

Link to Scalarama's event:  here

On Lady Terminator: Interview with Barbara Anne Constable by Andrew Leavold: here.