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Reorienting Film History Spatially

This chapter applies Singapore’s postcolonial spatial epistemology to
 rethink local film historiography, national identity, and film style. First, the
 framework bridges Singapore’s bifurcated film history, namely its “golden
 age” of the 50s and 60s, and the post-90s production revival. Second, in
 mulling the relationship that bodies have with the inhabited environment,
 it highlights the oeuvre of documentarian Tan Pin Pin, and finds a spatially
 attuned artist who fashions affective poetics of ambivalence, uncertainty,
 and hiraeth. A subsequent examination of unintended ironies created by
 “new wave” films that appropriate the language of alienation popularized
 by Western art cinemas, discovers a postcolonial style less reliant on
 tropes such as mimicry, cultural authenticity, and subaltern agency. These
 films conscript Deleuzean time-images and “any-space-whatevers” into a
 postcolonial paradox, in which new wave-inspired films try unsuccessfully
 to wrench individuals from the inextricable landscape.