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Subject:

CFP: The Politics of Faith, Spirituality, and Religion in Southeast Asian Cinemas

From:

Ekky Imanjaya <[log in to unmask]>

Reply-To:

Ekky Imanjaya <[log in to unmask]>

Date:

Thu, 27 Jul 2017 06:19:12 +0000

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (81 lines)

CFP is out for ASEACC 2018 Yogyakarta! Please share elsewhere

CFP: The Politics of Faith, Spirituality, and Religion in Southeast Asian
Cinemas
10th Biennial Association for Southeast Asian Cinemas Conference (ASEACC)
July 23-26, 2018, Indonesian Institute of the Arts, Yogyakarta, Indonesia.

In Southeast Asia, the tropes of faith/belief, spirituality and religion
are frequently inseparable from the political––whether specific regimes,
groups, movements or longer 'undercurrents'––in a way that challenges
post-enlightenment, rationalist/secularist conceptions of the political and
the modern. As the products of these rapidly changing societies with
diverse and long-historical philosophies and practices of faith, religion
and ritual, Southeast Asian cinemas have often occupied disputed
theoretical and aesthetic ground, particularly in their engagements with
politics. Local cinematic forms have consistently resisted any absolute
break with the power structures and attendant narrative and aesthetic
discourses that link the regional past to its national presents. The
resultant connection drawn by many local films between modernism and
approaches to life, politics and representation that implicitly or
explicitly eschew Western secularism have frequently served as a source of
consternation or dismissal from both local and global audiences and
critics.

In the decades since 9/11, however, as religion has become ever more
visible and the post-European Enlightenment ideal of separation between
public and private spheres has been increasingly destabilized throughout
the world, films engaging with the profound continuity of local aesthetic
and spiritual pasts in Thailand, Indonesia, the Philippines and elsewhere
have also begun to gain more regular acceptance in the foremost bastions of
cinematic legitimacy in Europe, East Asia and the United States. How might
works like these––and perhaps more important, those less universally
appreciated offerings that preceded them––challenge and expand our
understanding of what cinema is and does? How might the analysis of
Southeast Asian cinemas, genres, or particular films inspire a critical
rethinking of the position and role of religion, faith and other “old”
systems of belief in processes of regional transformation and
decolonization, and the production and spread of modernity and nationalism
they fostered?

Perhaps the most pressing question in this context: in light of the
alarming contemporary expansion of politico-religious conservatism and
authoritarianism throughout the region, might Southeast Asian films,
filmmakers and theorists be especially well positioned to formulate a
critical response that elides the polarizing valorization of secularism so
often deployed by Western critics?

Possible topics include, but are by no means limited to:

● Representation of religion, religious themes, and spirituality in cinema
● Faiths, identity-based politics, sectarianism
● Cinema as a vehicle for the adaptation and continual development of
religious or traditional ideologies and systems of thought
● Cinema as a mediator between religious and political authorities and the
public
● Cinematic reference to, or quotation of, traditional systems of belief
and forms of expression
● Cinema and Institutional investment in defining and promoting tradition
● Faith/religion and reception, exhibition, distribution (ex. themed
festivals)
● Films as interventions into religious politics/cultures and sectarian
politics
● Faith/religion/spirituality, film, and consumer culture
● Religion and censorship
● Islamic themed films as a contemporary phenomena in Indonesia and
Malaysia (and elsewhere)

ASEACC welcomes presentations related to the conference theme or to
Southeast Asian cinemas more broadly. Past conferences have included site
visits, screenings, and presentations from academics, critics, filmmakers,
archivists, and others interested in Southeast Asian screen media.

Please check our website archives and conference programs for past paper
topics as we are less likely to accept topics that have been covered
before:  http://seaconference.wordpress.com/

Abstract Submission Deadline: October 31, 2017. Please send an abstract
(max. 300 words) and short bio (max. 100 words) to: Katinka Van Heeren (
[log in to unmask]), Patrick Campos ([log in to unmask]), and
Sophia Harvey ([log in to unmask]).

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