Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2237775
Excerpted and Translated By Nazry Bahrawi
Published in Wasafiri (Vol. 38, No. 4, 2023)
发表于《Wasafiri》(第38卷第4期,2023年)
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Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2238401
Jasmine Gui
With artist statements from Trinh Mai and Zi Hao Wong
来自Trinh Mai和Zi Hao Wong的艺术家声明
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Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2238406
Nicholas Y H Wong
The sinophone Malaysian writer Li Zishu's recent novel about class stylistics, popular religion, citizen subject, and ritual belonging in postcolonial Malaysia can be better understood if we transl...
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Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2238419
Joshua Babcock
Published in Wasafiri (Vol. 38, No. 4, 2023)
发表于《Wasafiri》(第38卷第4期,2023年)
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Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2238410
Adrian Alarilla
This essay looks at the rise of the first-person documentary within the Filipino diaspora as a way of reflecting on their own situated knowledges while at the same time teasing out the intimacies o...
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Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2237773
Khairani Barokka
Published in Wasafiri (Vol. 38, No. 4, 2023)
发表于《Wasafiri》(第38卷第4期,2023年)
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Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2237767
Jerrine Tan
Yeo Siew Hua's film A Land Imagined (2018) is interspersed with long scenes at a work site. The camera often rests on the droning work of machines and workers carting and sorting gravel. But for al...
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