{"title":"3.《银幕上的珍珠泪》战争电影与缅甸独立初期军国主义的扩张","authors":"J. Ferguson","doi":"10.1515/9789048541904-006","DOIUrl":null,"url":null,"abstract":"The early years of Burmese postcolonial independence (1948) saw a tremen-dous expansion of the Tatmadaw (Burmese Armed Forces) predicated on an ongoing civil war and the Kuomintang ‘incursion’ in the northeastern Shan State. The same years comprised the beginning of the so-called ‘golden age’ of Burmese cinema. Amidst fijilms of various genres, historical fijiction war fijilms glorifying Burmese soldiers and peasants as heroes, and constructing archetypes of enemies to the country’s independence marked an important shift from earlier colonial-era nationalist fijilms which had sought to reclaim Burmese sovereignty by harking back to the grandeur of prior Burmese dynasties. Instead, while war experiences are homogenized and enemies are stereotyped, national heroes were now created as part of a post-independence political milieu.","PeriodicalId":210445,"journal":{"name":"Southeast Asia on Screen","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"3. Pearl Tears on the Silver Screen. War Movies and Expanding Burmese Militarism in the Early Independence Years\",\"authors\":\"J. Ferguson\",\"doi\":\"10.1515/9789048541904-006\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The early years of Burmese postcolonial independence (1948) saw a tremen-dous expansion of the Tatmadaw (Burmese Armed Forces) predicated on an ongoing civil war and the Kuomintang ‘incursion’ in the northeastern Shan State. The same years comprised the beginning of the so-called ‘golden age’ of Burmese cinema. Amidst fijilms of various genres, historical fijiction war fijilms glorifying Burmese soldiers and peasants as heroes, and constructing archetypes of enemies to the country’s independence marked an important shift from earlier colonial-era nationalist fijilms which had sought to reclaim Burmese sovereignty by harking back to the grandeur of prior Burmese dynasties. Instead, while war experiences are homogenized and enemies are stereotyped, national heroes were now created as part of a post-independence political milieu.\",\"PeriodicalId\":210445,\"journal\":{\"name\":\"Southeast Asia on Screen\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-12-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Southeast Asia on Screen\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1515/9789048541904-006\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Southeast Asia on Screen","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/9789048541904-006","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
3. Pearl Tears on the Silver Screen. War Movies and Expanding Burmese Militarism in the Early Independence Years
The early years of Burmese postcolonial independence (1948) saw a tremen-dous expansion of the Tatmadaw (Burmese Armed Forces) predicated on an ongoing civil war and the Kuomintang ‘incursion’ in the northeastern Shan State. The same years comprised the beginning of the so-called ‘golden age’ of Burmese cinema. Amidst fijilms of various genres, historical fijiction war fijilms glorifying Burmese soldiers and peasants as heroes, and constructing archetypes of enemies to the country’s independence marked an important shift from earlier colonial-era nationalist fijilms which had sought to reclaim Burmese sovereignty by harking back to the grandeur of prior Burmese dynasties. Instead, while war experiences are homogenized and enemies are stereotyped, national heroes were now created as part of a post-independence political milieu.