BEGIN:VCALENDAR VERSION:2.0 PRODID:-//EuroSEAS 2026//EN X-WR-CALNAME:EuroSEAS 2026 BEGIN:VTIMEZONE TZID:Europe/Madrid X-LIC-LOCATION:Europe/Madrid BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 DTSTART:19700329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 DTSTART:19701025T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTAMP:20260604T064500 UID:euroseas-2026-analyzing-southeast-asian-societies-through-cinematic-arts-1 SUMMARY:Analyzing Southeast Asian Societies Through Cinematic Arts (1) LOCATION:Classroom NT-115 DESCRIPTION:The use of audiovisual media to study social phenomena has a lo ng history in the social sciences. From early ethnographic cinema in the 19 20s and 30s (Flaherty, Bateson, Mead) to the observational and cinéma vérit é styles of the 1960s, film has played a key role in documenting societies (Grimshaw and Ravetz, 2009). Since the 1970s, visual sociology and anthropo logy have expanded to include fiction and the artist’s subjective voice, as seen in the docufictions of Jean Rouch, and recently, by instance, in the work of Pedro Costa, Trinh T. Minh-Ha, and the sensory ethnographies of Cas taing-Taylor and Paravel.\nIn the 21st century, the rise of digital video, online platforms, and streaming technologies has further empowered both fic tional and non-fictional ethnographic cinema, enabling greater creative ind ependence and diversity of expression. One notable development is the remar kable growth of independent cinema in Southeast Asia (Baumgärtel et al., 20 12), which often focuses on the everyday social realities of ordinary peopl e. In this context, a new generation of filmmakers has emerged, including, among others, Apichatpong Weerasethakul and Anocha Suwichakornpong (Thailan d), Lav Diaz and Khavn de la Cruz (Philippines), Ho Tzu Nyen and Yew Siew H ua (Singapore), and Nguyen Trinh Thi and Tuan Andrew Nguyen (Vietnam). As s uch, visual cinematic arts are increasingly becoming valuable and compellin g materials for the study of Southeast Asian societies and cultures.\nThis panel aims to explore the intersection of cinema and the social sciences, s pecifically in relation to Southeast Asia. It welcomes contributions from r esearchers working across the broad spectrum of cinematic audiovisual media —both fiction and non-fiction—as tools for analyzing Southeast Asian societ ies and cultures. Within this wide-ranging field, the panel is particularly interested in works that blur the lines between observer and observed, tha t foreground the authorial voice of the artist, and that incorporate fictio nal narrative and technical elements while still seeking to engage with the social realities of the region. URL:https://euroseas2026.org/panels/analyzing-southeast-asian-societies-through-cinematic-arts DTSTART;TZID=Europe/Madrid:20260902T100000 DTEND;TZID=Europe/Madrid:20260902T113000 END:VEVENT BEGIN:VEVENT DTSTAMP:20260604T064500 UID:euroseas-2026-analyzing-southeast-asian-societies-through-cinematic-arts-2 SUMMARY:Analyzing Southeast Asian Societies Through Cinematic Arts (2) LOCATION:Classroom NT-115 DESCRIPTION:The use of audiovisual media to study social phenomena has a lo ng history in the social sciences. From early ethnographic cinema in the 19 20s and 30s (Flaherty, Bateson, Mead) to the observational and cinéma vérit é styles of the 1960s, film has played a key role in documenting societies (Grimshaw and Ravetz, 2009). Since the 1970s, visual sociology and anthropo logy have expanded to include fiction and the artist’s subjective voice, as seen in the docufictions of Jean Rouch, and recently, by instance, in the work of Pedro Costa, Trinh T. Minh-Ha, and the sensory ethnographies of Cas taing-Taylor and Paravel.\nIn the 21st century, the rise of digital video, online platforms, and streaming technologies has further empowered both fic tional and non-fictional ethnographic cinema, enabling greater creative ind ependence and diversity of expression. One notable development is the remar kable growth of independent cinema in Southeast Asia (Baumgärtel et al., 20 12), which often focuses on the everyday social realities of ordinary peopl e. In this context, a new generation of filmmakers has emerged, including, among others, Apichatpong Weerasethakul and Anocha Suwichakornpong (Thailan d), Lav Diaz and Khavn de la Cruz (Philippines), Ho Tzu Nyen and Yew Siew H ua (Singapore), and Nguyen Trinh Thi and Tuan Andrew Nguyen (Vietnam). As s uch, visual cinematic arts are increasingly becoming valuable and compellin g materials for the study of Southeast Asian societies and cultures.\nThis panel aims to explore the intersection of cinema and the social sciences, s pecifically in relation to Southeast Asia. It welcomes contributions from r esearchers working across the broad spectrum of cinematic audiovisual media —both fiction and non-fiction—as tools for analyzing Southeast Asian societ ies and cultures. Within this wide-ranging field, the panel is particularly interested in works that blur the lines between observer and observed, tha t foreground the authorial voice of the artist, and that incorporate fictio nal narrative and technical elements while still seeking to engage with the social realities of the region. URL:https://euroseas2026.org/panels/analyzing-southeast-asian-societies-through-cinematic-arts DTSTART;TZID=Europe/Madrid:20260902T120000 DTEND;TZID=Europe/Madrid:20260902T133000 END:VEVENT END:VCALENDAR