Censorship and “Saving Face” In Cambodia
Censorship in Cambodia is often tied to upholding a certain image of the country. Reaksmey Yean highlights how this sort of action can come both from the authorities as well as citizens.
Censorship in Cambodia is often tied to upholding a certain image of the country. Reaksmey Yean highlights how this sort of action can come both from the authorities as well as citizens.
Sa isang masaklaw at pangkasaysayang pagsusuri ng sensura sa Pilipinas, mula kay Marcos (Senior) hanggang kay Marcos (Junior), inilalatag ni Katrina Stuart Santiago ang mito ng kalayaang pansining sa Pilipinas. Sa proseso, tinutukoy niya ang lumalaking konserbatismo, at panibagong mga paraan ng pagsesensura.
The key findings and analysis of artistic freedom in Malaysia from the Southeast Asian Arts Censorship Database Project, 2010 – 2022.
The key findings and analysis of artistic freedom in Vietnam from the Southeast Asian Arts Censorship Database Project, 2010-2022.
The key findings and analysis of violations of artistic freedom in Malaysia, Thailand, Indonesia, Vietnam, Cambodia and The Philippines from the Southeast Asian Arts Censorship Database Project, 2010-2022.
The key findings and analysis of artistic freedom in Thailand from the Southeast Asian Arts Censorship Database Project, 2010-2022.
The key findings and analysis of artistic freedom in The Philippines from the Southeast Asian Arts Censorship Database Project, 2010 – 2022.
The key findings and analysis of artistic freedom in Indonesia from the Southeast Asian Arts Censorship Database Project, 2010 – 2022.
The key findings and analysis of artistic freedom in Cambodia from the Southeast Asian Arts Censorship Database Project, 2010 – 2022.
Zikri Rahman examines the evolving nature of censorship in Malaysia through the lens of participatory censorship, with illustrations by Low Pey Sien.
Indonesia has one of the most prolific film industries in Southeast Asia, yet, local filmmakers have to contend with different kinds of pressure and actions that impact their creative free expression. The real losers are the public, whose choice of what film, local or international, they might watch is decided by those in power
Katrina Stuart Santiago demonstrates how recent incidents of artistic censorship in the Philippines have focused on the silencing of female and LGBTQIA+ voices.
While Papuan cinema takes its place on the world stage, it is still viewed with distrust in Indonesia. Adrian Jonathan Pasaribu traces how and why Papua’s people continue to be excluded from the national narrative.
Linh Le speaks to Dat Vu, a Ho Chi Minh City-based artist who works mainly with photography, about his experience with censorship.
Artist Ngo Dinh Bao Chau shares her experience with the ambiguous censorship guidelines in Vietnam with curator Linh Le.
Zikri Rahman takes us on a short tour of the way that artists have used symbols of statehood to commemorate, challenge and expand the idea, and meaning of nationhood in Malaysia.
In Cambodia, most cases of arts censorship are linked to the notion of protecting and preserving culture. Kai Brennert examines how different generations of civil servants and policymakers are shaped by their lived experiences, which in turn influence their view of “cultural preservation”.
Nutcha Tantivitayapitak and Sudarat Musikawong travel to Chiang Mai, Thailand to shine a light on the artn’t Collective, who are currently facing numerous legal charges for works that are viewed as critiquing the state.
In a country with opaque requirements for what can and cannot be shown, Linh Le highlights how something as seemingly straightforward as obtaining an exhibition licence may be used to control artistic expression in Vietnam.
Tại một đất nước như Việt Nam, nơi có những yêu cầu không rõ ràng về việc trưng bày, Linh Lê nhấn mạnh rằng chỉ cần một thứ tưởng chừng đơn giản như xin giấy phép triển lãm có thể trở thành một cách kiểm duyệt biểu đạt nghệ thuật.
The tale of a pioneering woman Indonesian filmmaker converges with the mission of a group of women film researchers, as Adrian Jonathan Pasaribu highlights how archives and historical records often render some stories invisible.
Nutcha Tantivitayapitak and Sudarat Musikawong delves into the life of the late Wat Wanlayangkoon, an award winning novelist who left a lasting impact on the world of arts and activism in Thailand.
Zikri Rahman menghuraikan tentang filem-filem yang ditapis secara tegas dan peluang yang terlepas akibat tindakan tersebut.
Researcher Linh Le interviews artist-curator Bill Nguyễn, in a wide ranging conversation about historical and contemporary censorship in Vietnam.
In a country with a range of national and international laws to protect artistic rights, Reaksmey Yean questions the reality of freedom of expression for artists in Cambodia.
នៅខែកញ្ញា ឆ្នាំ២០២០ អាជ្ញាធរកម្ពុជាបានចាប់ខ្លួនអ្នកចម្រៀងរ៉ែបវ័យក្មេងពីររូប គឺ គា សុគន្ធ និងឡុង ពុទ្ធារ៉ា ទាក់ទងទៅនឹងពាក្យពេចន៍រំលេចនៅក្នុងបទចម្រៀង ដីខ្មែរ របស់ពួកគេ ដែលចេញកាលពីខែមេសា ឆ្នាំ២០២០។ បទចម្រៀងនេះបានទាក់ទាញឱ្យមានការទស្សនារហូតដល់ជាង ២,២លានលើក អំឡុងពេល៥ខែបន្ទាប់ពីការចេញផ្សាយ។ បទដីខ្មែរ នេះជំរុញឱ្យយុវជនខ្មែរទាំងឡាយក្រោកប្រឆាំងនឹងការគាបសង្កត់ អំពើពុករលួយ បោះបង់ចោលគ្រឿងស្រវឹង ហើយយកចិត្តទុកដាក់លើបញ្ហាទឹកដី។ នៅក្នុងបទចម្រៀងនេះ សុគន្ធរ៉ែបថា៖ «ខ្ញុំចាប់កំណើតកើតនៅលើដីកម្សត់ មានបេះដូងអព្យាក្រឹត ប្រឆាំងជាមួយនឹងជនក្បត់ វ៉ៃយកកេរដំណែល ក្រវែលអ្នកគាបសង្កត់ ជួយជាតិតាមសំឡេង ឱ្យគេឮតាមបទ។ ខ្ញុំអ្នកសៀមរាបរស់នៅលើដីប្រាសាទ មានឈាមវរ្ម័នក្លាហានមិនបាក់ស្បាត ឈរតំណាងទឹក តំណាងដី តំណាងសាសន៍ លើកទង់ជាតិកម្ពុជា ស្មើមេឃ ស្មើអាកាស។» ពាក្យពេចន៍របស់សុគន្ធ គឺពោរពេញទៅដោយមនោសញ្ចេតនា ជាតិនិយម ជាពិសេសពេលដែលសិល្បកររូបនេះរម្លឹកដល់អ្នកស្ដាប់ថា ៖ «យើងបើអស់ដីគ្មានអ្វីនៅទៀតទេ… សាសន៍មួយចំនួនកំពុងតែឈ្លានពាន ពេលដែលបាក់សាមគ្គីគេនឹងមកទន្ទ្រាន…» បើទោះបីជាបទចម្រៀងទាំងមូលមិនលើកយកពាក្យ «វៀតណាម» មកពណ៌នាក៏ដោយចុះ ក៏បញ្ហាទឹកដីដែលបានរំលេចនៅក្នុងចម្រៀងមួយបទ នេះធ្វើឱ្យអ្នកស្ដាប់យល់បានថា ជាការសំដៅទៅរកបញ្ហាព្រំដែនដ៏រស៊ើបមួយជាមួយនឹងប្រទេសវៀតណាម ទៅនឹងការចោទប្រកាន់ជាយូរយារណាស់មកហើយថា …
សេរីភាពសិល្បៈនៅកម្ពុជា ៖ នៅពេលដែលការការពារតាមផ្លូវច្បាប់មិនគ្រប់គ្រាន់ Read More »
Burmese artists make art in exile in Thailand, finding refuge and showcasing cross-border solidarity for artistic freedom.
In a wide-ranging historical analysis of censorship in the Philippines, from Marcos (Senior) to Marcos (Junior), Katrina Stuart Santiago lays bare the myth of artistic freedom in the Philippines. In the process, she identifies a mounting conservatism, and new kinds of censors.
Adrian Jonathan Pasaribu highlights the inequalities faced by the arts in Indonesia which were exposed during the COVID-19 pandemic.
Adrian Jonathan Pasaribu mombongkar masalah yang dihadapi oleh bidang seni pada masa pandemi.