A History of Forgetting Elizabeth Wijaya (bio) REMAPPING THE SINOPHONE: THE CULTURAL PRODUCTION OF CHINESE-LANGUAGE CINEMA IN SINGAPORE AND MALAYA BEFORE AND DURING THE COLD WAR BY WAI SIAM HEE Hong Kong: Hong Kong University Press, 2019 REMAPPING THE SINOPHONE: THE CULTURAL PRODUCTION OF CHINESE-LANGUAGE CINEMA IN SINGAPORE AND MALAYA BEFORE AND DURING THE COLD WAR BY WAI SIAM HEE Hong Kong: Hong Kong University Press, 2019 What does it mean to remember an absence? Many of the films analyzed and listed in the filmographies of Hee Wai Siam's Remapping the Sinophone are doubly lost: both materially absent and barely present in film canons and popular memory. Even some of the films that have survived or have recently resurfaced and have been restored, such as Blood and Tears of the Overseas Chinese (Cai Wenjin, 1946) and Spirit of the Overseas Chinese (Wan Hoi-Ling, 1946), having already been once-forgotten, currently still have limited visibility as they can only be accessed at film archives or during special screenings. In Hee's Remapping the Sinophone: The Cultural Production of Chinese-Language Cinema in Singapore and Malaya before and during the Cold War, the status of whether a film is extant or nonextant is not always marked because Hee's concern is less with listing the material disappearances of the films than with tracing the causes and effects of the disappearances from the cultural histories of Chinese-language cinema. Through foregrounding lost but important films or rediscovered films and the debates surrounding their production, the ambition of Remapping the Sinophone extends to reclaiming the history of early Chinese-language cinema in Singapore and Malaya and positing the importance of this history for Sinophone and Cold War cinema studies. Remapping the Sinophone presents an indictment of forgetting and a call to remember that which has been obscured by historical and [End Page 197] geopolitical forces. The author argues that Mandarin and Chinesetopolect cinemas from Singapore and Malaya (1927 to 1965) have been neglected within academic discourse, cultural memory, as well as contemporary debates on inclusion and exclusion in cultural productions framed as Sinophone/Chinese-language. Hee is concerned that early Chinese-language cinema has been overlooked not only in Singapore and Malaysian cinema history but also in histories of Chinese-language cinema. This forgetting encompasses the films themselves as well as the debates on the term "Chinese-language cinema" in Singapore and Malaya in the 1950s. Hee's project of "remapping" the terrain of the Sinophone occurs alongside a recovery of the Singapore and Malayan roots of the "Sinophone" and "Chinese-language" debate as well as the Cold War context of the making and forgetting of this oeuvre that is further marginalized within the already marginalized cinemas of Singapore and Malaysia. In terms of the timeline covered in the book, 1927 was the release year for New Friend, the first locally produced film in Singapore, while 1965 was the year of Singapore's independence after separation from Malaysia and the last year in which the director Yi Shui made a film. In Hee's telling, 1965 was a crucial year of beginnings and endings, when Singapore's independence coincided with the end of Yi Shui's dream of the acceptance of the hybridized "Malayanised Chinese-language" cinema. The first chapter of the book begins with a debate over two non-extant films: New Friend (1927) directed by Guo Chuwen, and Leila Majnun (1934) directed by Balden Singh Rajhans. Hee argues that unlike what Latent Images by Uhde and Uhde claimed, New Friend (1927), rather than Leila Majnun (1934), was the first locally produced film in Singapore. Both films, though materially lost, remain significant in the entangled memory and legacy of Singapore and Malaysian cinema. The chapter continues with characteristically detailed research on the historical evidence pertaining to the production and release of New Friend. Hee ties the fate of New Friend to that of Chinese immigrants in Singapore and Malaysia, arguing that the neglect of New Friend reveals the "double rejections" of "Chinese immigrants in Singapore and Malaysia" by "national ideologies in their homeland and by postcolonial concerns in a new country" (45). For Hee, this double rejection is not...
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