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Asian Film Journeys
Asian Film Journeys

Title: Asian Film Journeys - Selections from Cinemaya 1988-2004

Editor(s): Rashmi Doraiswamy and Latika Padgaonkar
Publisher: NETPAC & Wisdom Tree, 2010, 650 pp

For lovers of Asian cinema and for those who are simply curious to know its trends and moods, experiments and innovations since it strode the world stage with assurance in the mid 80s, Asian Film Journeys is a feast. It presents a selection of article that appeared in the pages of Cinemaya, The Asian Film Quarterly, between 1988 and 2004, articles that closely tracked the bold new film narrative of both the well-known and the lesser-known cinemas as it unfolded.

Cinemaya was founded in 1988 in New Delhi by Aruna Vasudev who remained its Editor and Publisher throughout. Latika Padgaonkar and Rashmi Doraiswamy, on board from the concept, stage were, by turn, the Executive Editor for the sixteen years that Cinemaya remained the one and only serious yet lively platform for writing on the cinemas of countries from Japan to Turkey. Given that the writers asked to write for it were mostly Asian, apart from a few keen and long-standing western followers of Asian cinema, the magazine offered, for the first time, a truly authentic point of view, a look at films from within their own cultures. Such writings often explained films in ways that altered and enriched our understanding.

Cinemaya opened a window on to the continent’s myriad cinemas through the new trends and classics it presented, through interviews, sections on little-known masters, reports of Asian films in international festivals and reports of Asian film festivals, documentaries, women filmmakers, eminent actors and cinematographers, the Western gaze on Asian cinema, genres, issues of sexuality, of censorship, political contexts … Cinemaya kept its finger on the pulse of Asia for sixteen years.

Soft Copy: Euros 110.00

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Title: Being & Becoming The Cinemas of Asia
Editor(s): Aruna Vasudev, Latika Padgaonkar, Rashmi Doraiswamy
Publisher: Macmillan India / 2002

Cinema in Asia began as a monumental adventure. It married fantasy and festivity, curiosity and fun; everywhere it was an awe-inspiring social event. It took no time for it to become a political tool to be discovered…. At the same time, it matured into an unrivalled form of artistic expression. And in all its multiple shapes that this book pays homage to the cinemas of Asia… in the many layers of life it unveils, in yet fundamental links that go beyond what is specific to every culture and in the intrinsic power of the cinematic art itself…

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Title: Kenji Mizoguchi and the Art of Japanese Cinema
Author(s): Tadao Sato
Publisher: Berg (An imprint of Oxford International Publishers Ltd) 2008Kenji Mizoguchi is one of the three acclaimed masters – together with Yasugiro Ozu and Akira Kurosawa – of Japanese cinema. This book is a definitive guide to the life and work of one of the greatest filmmakers of the 20th century. Kenji Mizoguchi and the art of Japanese cinema tells the full story of this famously perfectionist, even tyrannical director. Mizoguchi’s key films, cinematographic techniques and his social and aesthetic concerns are all discussed and set in the context of Japan’s changing popular and political culture.

Soft Copy: Euros 22.17

Modernity And Nationality In Vietnamese Cinema  
Title: Modernity and Nationality in Vietnamese Cinema
Author(s): Ngo Phuong Lan
Editor(s): Aruna Vasudev, Philip Cheah
Publisher: NETPAC 2007lm City, a state-government run enterprise, stretching out on 400 acres is known as Mumbai’s green lung. During the monsoon months, thickets and trees turn into a deep green and grass sprouts wildly all around. Whistling Woods International (WWI), a 20 acre film school (billed as Asia’s largest) , is set amidst this sylvan terrai.

Soft Copy: Euros 10.00

Early Srilankan Cinema  

Title: The Early Sri Lankan Cinema and its Association with the South Indian Film Industry
Editor(s): Ashley Ratnavibhushana and M.L.M. Mansoor (Sri Lanka)
Publisher: Asian Film Centre & NETPAC (Network for the Promotion of Asian Cinema)A BOOK THAT EXPLORES THE SOUTH INDIAN INFLUENCE IN THE EARLY SRI LANKAN  CINEMA
192 pages with 99 photographs
Price US$10.00 (excluding postage)

A publication titled The Early Sri Lankan Cinema and its Association with the South Indian Film Industry launched on the 24th February, 2013 at the Auditorium of the National Film Corporation of Sri Lanka. A joint publication of Asian Film Centre, Sri Lanka and NETPAC (Network for the Promotion of Asian Cinema), the very title of the book ifself gives an idea about its contents. This book makes an effort to trace the exciting history of the early period of Sri Lankan cinema through  interviews conducted with the surviving directors  of the early Sinhala films including A.B. Raj and K.S. Sethumadhavan, It also includes lengthy interviews conducted with Film News Anandan and Randor Guy, the noted historians and archivists  of South Indian cinema. Rare photographs that throw light on a forgotten  era of the South Indian and Sri Lankan film industries also adore this publication. Set in the broader perspective of Indo – Lanka cultural relations prevailed over the centuries, it explores the circumstances that led to the South Indian involvement in the Sinhala cinema during its infancy and formative years. 

It also traces the biographical information and areas of expertise of the large number of Indians who contributed in the making of Sinhala films. 

The rich text is elaborated by including large number of photographs culled from the archives from both the Indian and Sri Lankan film historians.

Soft Copy: Euros 8.00


Critic After Dark

 Title: Critic After Dark A Review Of Philippine Cinema
Author(s): Noel Vera
Publisher: Published by BigO Books (2005) 330 pagesSober, uniformed bank officer by day - crunching numbers and filling out forms and arguing with government employees over the phone - by night, film critic Noel Vera, sits in the darkest corner of the moviehouse, viewing (or enduring) the latest that Philippines cinema has to offer. 

The articles collected in this book represent not quite half of what Noel Vera has written from the period 1994 to 2004, more than a decade of near-clandestine writings on cinema, Philippine and otherwise.

What Others Say

"You may not always agree with Noel Vera’s trenchant views on the art and craft of filmmaking - and I must confess that we don’t have the same pantheon of film heroes - but you have to grant that his reviews are always eminently readable. The insights are enlightening, the scholarship is reliable, and the humor is wry and dry."
- Pete Lacaba, screenwriter, film critic and journalist, Philippines

" To those who think there is no more such a thing as film criticism in the Philippines, just read Noel Vera’s reviews and articles, whether in Cinemaya or on the internet. You can feel he loves cinema for itself, and he knows it biblically. Even if he sometimes defends B-grade Filipino movies, he does it with his heart and mind, and he always stands for one of the few true Filipino directors of today: Mario O’Hara, an heir to Lino Brocka and the best Filipino cinema of the Golden Age. This in itself is the way to redemption!" 
- Max Tessier, film critic, France

Profiling Srilankan Cinema  

Title: Profiling Sri Lankan cinema
Author(s): Wimal Dissanayake , Ashley Ratnavibhushana
Publisher: Asian Film Centre 152 pagesProfiling Sri Lankan Cinema is an introductory essay aimed at the non specialist and general readers. Its objective is to present very concisely the growth of Sri Lankan cinema, and to map its high points and dominant trends, focusing on the more important filmmakers. The essay is primarily intended for foreign readers who wish to acquaint themselves with Sri Lankan cinema. However, it is hoped that local readers, too, would find it something to interest them.

Profiling Sri Lankan Cinema is written with a deep acquaintance with, an appreciation of, contemporary film theory. However, as the essay is intended for the general reader, the authors have restricted the technical vocabulary of analysis to the minimum. This essay, in its own modest way, will help to focus on a relatively neglected area of modern Asian Cinema.


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