Topics covered include film and radio broadcasting as propaganda in wartime and postwar Asia; meaning construction of archival film footage in the politics of memory; historical fiction films’ representation of colonial memory in the postcolonial society; how archival practices and documentary-making collectively resist forgetting state violence; and the use of virtual reality technology in the representation of historical trauma in museums. Contributors Juyeon Bae, Peter J. Bloom, Malinee Khumsupa, Chung-kang Kim, Han Sang Kim, Sudarat Musikawong, Sandeep Ray

How should colonial film archives be read? How can historians and ethnographers use colonial film as a complement to conventional written sources? Sandeep Ray uses the case of Dutch colonial film in Indonesia to show how a critically-, historically- and cinematically-informed reading of colonial film in the archive can be a powerful and unexpected source, and one more easily accessible today via digitisation. The language of film and the conventions and forms of non-fiction film were still in formation in the first two decades of the 20th century. Colonialism was one of the drivers of this development, as the picturing of the native "other" in film was seen as an important tool to build support for missionary and colonial efforts. While social histories of photography in non-European contexts have been an area of great interest in recent years; Celluloid Colony brings moving images into the same scope of study.