By Ian Aitken
This ebook explores the ways that the British reputable movie used to be utilized in Malaya/Malaysia, Singapore and Hong Kong from 1945 to the Seventies. Aitken uncovers how the British reputable movie, and British legitimate details businesses, tailored to the epochal contexts of the chilly struggle and finish of empire. as well as an intensive creation, which touches on a couple of severe concerns regarding the post-war British reliable movie, the e-book offers an account of ways the culture of film-making linked to the British documentary movie stream unfold into the area through the post-war interval, and the way that culture was once contested through a ‘Colonial place of work’ culture of film-making. the quantity concludes through protecting the increase of tv within the area in the context of constructing post-colonial authoritarian states in Singapore and Malaysia, and the continuation of colonial authoritarianism in Hong Kong.
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The British Official Film in South-East Asia: Malaya/Malaysia, Singapore and Hong Kong
This publication explores the ways that the British legitimate movie was once utilized in Malaya/Malaysia, Singapore and Hong Kong from 1945 to the Seventies. Aitken uncovers how the British respectable movie, and British legit details organisations, tailored to the epochal contexts of the chilly warfare and finish of empire. as well as an in depth creation, which touches on a few severe matters regarding the post-war British respectable movie, the ebook presents an account of ways the culture of film-making linked to the British documentary movie flow unfold into the area in the course of the post-war interval, and the way that culture used to be contested through a ‘Colonial workplace’ culture of film-making.
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Additional info for The British Official Film in South-East Asia: Malaya/Malaysia, Singapore and Hong Kong
Example text
All three types nonetheless can be defined as ‘colonial’ in that all presume and portray the primacy of the coloniser over the colonised. As will be seen later in this chapter, such primacy would not be possible in the THE FORMS OF THE BRITISH OFFICIAL/SPONSORED DOCUMENTARY FILM 19 ‘late colonial’ and ‘post-colonial’ forms of the British official film that appeared in South-East Asia after 1945. In relation to the two forms previously discussed, this British colonial form was particularly insular.
28. A notion explored in the groundbreaking book by Angus Calder (1969), The People’s War: Britain 1939–1945, London: Jonathan Cape. 29. 198. 30. Aitken, Ian (2012), ‘The Development of Official Film-making in Hong Kong’, Historical Journal of Film, Radio and Television, 32: 4, 596–7. 31. 17–18. 32. 5. 33. 4–5. 34. 190. 35. ’ Journal of British Cinema and Television, 11: 1, 108. 36. 109. 37.
70 The difference to the colonial model, however, is that the focus here was not on individuals representing, in the case of the colonial form, peasant constituencies; but on individuals within groups, such as, in the case of Acting on Information, a military unit. This was partly because the latecolonial form is concerned with national-social-political formulations, rather than more technical and local issues emanating from a representative individual. In addition to this binary model, the MFU films also increasingly adopted a ‘story approach’ as the Emergency progressed.