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How do we see Southeast Asian and diasporic visual culture today? This is the central question we ask in the Introduction to this special issue of Visual Anthropology. To answer the question, we trouble the geographic designation of “Southeast Asia” and how the region’s arts and culture have traveled and are received at the present moment. We posit that we need to see Southeast Asia and its diasporas differently. Most notably, we argue that through the lens of gender and sexuality we can better visualize and analyze the critical and creative strategies of artists and writers situated in many parts of the world. We foreground the collected essays, art pieces and poetry that query what it means to labor for the state, the art world or the academy. And as we emphasize, the collection brings together—in color, in varying compositions, in long and short form—the dynamism of art and media texts in all of their complex circulations. [ABSTRACT FROM AUTHOR]

Examining two Vietnamese films, one made in the North in 1959, and another produced in the South during the American War in 1971, this article contends that Vietnam's landscape serves as an affective site for a gendered construction of nationalism within key moments in Vietnamese history. In analyzing the attachments that the Vietnamese and Vietnamese diaspora feel towards their country, I explore a topic rarely discussed in US film scholarship and historicize these filmmaking efforts to demarcate a different way of viewing Vietnam in film. This study demonstrates the importance of understanding how gender and affect are projected onto landscapes in a national cinema like Vietnam's. More exactingly, it emphasizes that affects underlying Vietnamese nationhood and war are undergirded by the political economy of film and filmmaking. My arguments point to the modes of production and circulation of film, which shape the making of affect in Vietnam War discourse. My analyses are framed by the questions: how is affect inscribed in Vietnamese film, and what are its effects on notions of belonging and nationhood? In what ways has affect traveled about Vietnam in the past and present moment? Who is able to access such representations, and why does this matter? [ABSTRACT FROM AUTHOR]

A review of the DVD release of the documentary film " Cha Me, Xin Loi Con" (Child, We Apologize to You) directed by Phan Huyen Thu.