By Kenneth Tan
ISBN-10: 9004166432
ISBN-13: 9789004166431
ISBN-10: 9047433335
ISBN-13: 9789047433330
Via shut readings of up to date made-in-Singapore motion pictures (by Jack Neo, Eric Khoo, and Royston Tan) and tv courses (Singapore Idol, sitcoms, and dramas), this ebook explores the chances and obstacles of resistance inside a sophisticated capitalist-industrial society whose authoritarian govt skillfully negotiates the dangers and possibilities of balancing its on-going nation-building undertaking and its "global urban" aspirations. This publication adopts a framework encouraged by way of Antonio Gramsci that identifies ideological struggles in paintings and pop culture, yet continues the significance of Herbert Marcuse's one-dimensional society research as theoretical limits to acknowledge the ability of authoritarian capitalism to subsume artistic endeavors and pop culture whilst they try out consciously--even now and then successfully--to negate and oppose dominant hegemonic formations.
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Additional resources for Cinema and Television in Singapore: Resistance in One Dimension
Example text
These kinds of attempts to denote ‘multiracialism’ as unity and harmony in diversity, though unavoidably crude, have become the dominant mental template for thinking about ethnicity in Singapore. As a model of Singapore’s multiethnic society, CMIO is simplistic and rigid. The very real differences between Chinese Singaporeans who are ‘Chinese-educated’ and those who are ‘English-educated’ are a case in point. The differences among Indians who are Hindu, Sikh, Muslim, and Christian are another. However, CMIO has been so entrenched in ethnicity-related legislation, policies, institutions, national discourse, and national celebrations that thinking about each of the four ethnic groups as monoliths to which religion, class, and other significant sources of identity have been conflated has become common sense, powerfully shaping questions of identity and difference, community, values, and nationhood.
In this way also, the grassroots sector serves as a mechanism of surveillance to keep a watchful eye on oppositional tendencies and forces in mass society (K. P. Tan 2003a). Public housing itself has been a major component of the totally administered society in Singapore, making a direct impact on the lives and aspirations of the 82 per cent of Singaporeans who live in these estates carved out into constituencies that are each served by networks of grassroots organizations with the PAP government at the center.
As a result, opposition parties tend to court the middle ground by offering political options that are not fundamentally dissimilar to those in the PAP’s manifesto. Of politics in 1950s America, Marcuse observed how “the programs of the big parties become ever more indistinguishable, even in the degree of hypocrisy and in the odor of the clichés” (Marcuse 1964/2002, 22). But even on this middle ground, opposition parties in Singapore have found it virtually impossible to defeat the PAP government, whose record of successful governance seems to trounce any arguments for political alternatives, theoretical or concrete.
Cinema and Television in Singapore: Resistance in One Dimension by Kenneth Tan
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