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Celluloid SingaporeCinema, Performance and the National$
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Edna Lim

Print publication date: 2018

Print ISBN-13: 9781474402880

Published to Edinburgh Scholarship Online: May 2020

DOI: 10.3366/edinburgh/9781474402880.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 27 July 2021

One People, One Nation, One Singapore

One People, One Nation, One Singapore

Chapter:
(p.119) 6. One People, One Nation, One Singapore
Source:
Celluloid Singapore
Author(s):

Edna Lim

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474402880.003.0006

This chapter begins the book’s examination of Singapore’s revival cinema as a post-national one, emerging after Singapore had already transitioned from Third to First World, as heralded by the title of the late Mr Lee Kuan Yew’s memoirs. Central to this perspective is the performance of national identity, primarily the difference between the state’s version of the nation and the other Singapores produced by this cinema. This chapter develops and expands on my prior work on this period and explores a series of acts and gestures that constitute the state’s performance of a successful Singapore as a unified, homogeneous national identity, including the Singapore Story, policies, speeches and the ubiquitous annual National Day Parade.

Keywords:   Singapore, National, Performance, Identity, National Day Parade, Lee Kuan Yew, Revival, The Singapore Story, Success, Nation

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