Issue 9 is dedicated to Archival Imaginaries. Archivists, artists, filmmakers, curators, and scholars of Asian cinema were invited to eschew the well-trodden “survey of the archival landscape” route and present instead imaginaries of the archive and imaginaries through archives—from film to art, from personal to collective, from private to institutional, from analog to digital, from existing to potential and impossible ones.
Encompassing essays, documents, conversations, accounts, and creative writing, this Issue considers the powers and limits of both archives and archiving. In so doing, it articulates some of the alternative pasts and speculative futures that these may enable and engender.
NANG hopes to creatively open the past for critique and assert possibilities for the future, for us to reassess and respond to our present conditions and emphasise the importance of our cinematic and media heritages. Through archival imaginaries we point toward what we wish to make real.
About the guest editors
Bono Olgado is an Assistant Professor at the University of the Philippines School of Library and Information Studies doing work at the intersections of memory, technology, and archival studies. He served as the inaugural Director of the National Film Archives of the Philippines and as Executive Councilor of the Southeast Asia-Pacific Audiovisual Archive Association.
Rufus de Rham is Executive Director of the historic Warner Theatre, a performing arts center in Connecticut. He holds a BFA in Cinema Studies and an MA in Moving Image Archiving and Preservation from New York University. He worked for Subway Cinema and at Film at Lincoln Center where he managed programming operations and programmed several one-off events.
About NANG Magazine
NANG is an English-language 10-issue magazine which covers cinema and cinema cultures in the Asian world with passion and insight. Published twice a year over a period of five years, NANG’s ambition is to build a wonderfully rich and profound collection of words and images on cinema, for knowledge, inspiration, and enjoyment.
Beautifully-printed on fine papers, NANG broadens the horizons of what the moving image is in Asia, engaging its readers with a wide array of stories, contexts, subjects and works connected by the cinema.
Each and every issue of NANG is structured around a specific theme and created in collaboration with a unique group of guest editors and contributors based both within and outside Asia.
