ASEACC X 2018 Yogyakarta

Photo courtesy of Galuh Laksmi Sapthari

Call for Documentaries: 7th Visual Documentary Project (Center for Southeast Asian Studies, Kyoto University) The Center for Southeast Asian Studies (CSEAS), Kyoto University is calling for documentaries for the 7th Visual Documentary Project! We respectfully ask that if anyone has any filmmakers colleagues in Southeast Asia who'd like to participate in this project to forward the information below. Please help us reach out to young aspiring filmmakers in Southeast Asia! Project information is availble in 11 languages.  https://vdp.cseas.kyoto-u.ac.jp/en/vdp2018/ THEME: Popular Culture and Southeast Asia Southeast Asia: a region rich in popular cultural traditions. How do popular music, art, literature, theatre, comedy, dance, sport and film, move people in Southeast Asia?  What makes them laugh, cry and feel? Inspire us! For 2018, we open up the visual documentary project to documentaries that capture popular cultures across the region.  REQUIREMENTS 1. Applicants mu

The Politics of Faith, Spirituality, and Religion in Southeast Asian Cinemas 10th Biennial Association for Southeast Asian Cinemas Conference (ASEACC) ISI Yogyakarta, 23-26 July 2018 From the committee and members of Indonesia's film community we welcome you to Yogyakarta for the Association of Southeast Asian Cinemas biannual conference ASEACC 2018.  This year we are hosted by ISI Yogyakarta in this beautiful student city. This year's conference is from 23 to 26 July 2018.  Please find more information at the tabs above. See you in Yogyakarta!

10th ASEACC Conference: The Politics Of Faith, Spirituality, And Religion In Southeast Asian Cinemas    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 (ISI) 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 an