Siao Yuong Fong
Biographic Data
| ID | 4428826 |
|---|---|
| NAME | Siao Yuong Fong |
| GIVEN NAMES | Siao Yuong |
| FAMILY NAME | Fong |
| SIGNATURE | FONG S Y |
| AFFILIATIONS | Lancaster University |
| ORCID | 0000-0002-0817-6612 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Imagining audiences in the age of generative AI
This Cultural Commons article examines how generative AI reconfigures practices of imagining audiences in media and cultural production. Moving beyond dominant debates on labour, creativity, and audience preference, it draws on the concept of imagined audiences to recentre questions of culture, meaning, and power. From a production studies perspective, the article identifies three key problematics intensified by AI: the shifting visibility of aud…
Envisioning cultural commoning: New Cultural Commons editors’ dialogue on Global South perspectives, inclusivity and Cultural Studies
They don’t need us’: Affective precarity and critique in transnational media work from the margins of ‘Cultural China’
Creative labour studies has yielded much critical insights from workers’ experiences of ‘precarity’ and ‘self-exploitation’ with increasing neo-liberalization. This important work’s overwhelming focus on the critique of neoliberalism based on Euro American case studies risk overlooking insights that can be gained from other socio-geopolitical contexts. Drawing on a mix of ethnographic observations and interviews with transnational media producers…
Regional partnerships and media policy in the age of China’s rise: The case of Singapore-China film co-productions
Despite being the first Asian country (except for Hong Kong) to sign a film co-production agreement with China, Singapore's film co-productions with China so far are few and far between, none of which have come under the official agreement. This raises wider questions about the policy making challenges of small nations when driving or facilitating regional collaborations with partners like China. Drawing on interviews with key interlocutors in th…
Transnational media production from the margins of “Cultural China”: The case of Singapore’s media producers
The rise of the PRC as a producer of mass culture marks a reconfiguration of “East Asian Popular Culture” as media producers are now actively seeking opportunities to enter the Mainland Chinese market. While the implications of this trend for the media industries of Taiwan and Hong Kong are well-documented, Singapore’s participation in this cultural formation remains comparatively understudied. Often deemed by their Chinese counterparts as lackin…
Drama production and audiences as ‘affective superaddressee’ in an illiberal democracy
There is a long history of television and film research that highlights the essential roles audiences play in everyday production decisions. Based largely on Western media industries, these studies’ investigations of producer–audience relationships have revolved predominantly around the market concerns of liberal media models. So how do producer–audience relationships work when it comes to illiberal contexts of media production? Using Singapore a…
Imagining film censorship in Singapore: The case of Sex.Violence.FamilyValues
This article aims to rethink film censorship in Singapore by investigating how the agents involved in the Singapore Board of Film Censors imagine and represent its processes. Contrary to deterministic and structural approaches, I argue for the consideration of how specific events and practices articulate film censorship in Singapore in specific ways and how these, in turn, feed back into the process of censorship. Using the case study of Ken Kwek…
Unpacking the ‘Singapore New Wave’
As the cinema of a small nation, Singapore cinema punches above its weight. The series of international film festival awards won by Singaporean filmmakers alongside the multiple books published on Singapore cinema since the 2010s seem to signal a revival of the industry. This editorial introduction unpacks the term ‘Singapore New Wave’ as a starting point for this Special Issue to raise questions about the changes that appear to be happening in S…
They don’t need us’: Affective precarity and critique in transnational media work from the margins of ‘Cultural China’
Creative labour studies has yielded much critical insights from workers’ experiences of ‘precarity’ and ‘self-exploitation’ with increasing neo-liberalization. This important work’s overwhelming focus on the critique of neoliberalism based on Euro American case studies risk overlooking insights that can be gained from other socio-geopolitical contexts. Drawing on a mix of ethnographic observations and interviews with transnational media producers…
Envisioning cultural commoning: New Cultural Commons editors’ dialogue on Global South perspectives, inclusivity and Cultural Studies
Drama production and audiences as ‘affective superaddressee’ in an illiberal democracy
There is a long history of television and film research that highlights the essential roles audiences play in everyday production decisions. Based largely on Western media industries, these studies’ investigations of producer–audience relationships have revolved predominantly around the market concerns of liberal media models. So how do producer–audience relationships work when it comes to illiberal contexts of media production? Using Singapore a…
Imagining film censorship in Singapore: The case of Sex.Violence.FamilyValues
This article aims to rethink film censorship in Singapore by investigating how the agents involved in the Singapore Board of Film Censors imagine and represent its processes. Contrary to deterministic and structural approaches, I argue for the consideration of how specific events and practices articulate film censorship in Singapore in specific ways and how these, in turn, feed back into the process of censorship. Using the case study of Ken Kwek…
Unpacking the ‘Singapore New Wave’
As the cinema of a small nation, Singapore cinema punches above its weight. The series of international film festival awards won by Singaporean filmmakers alongside the multiple books published on Singapore cinema since the 2010s seem to signal a revival of the industry. This editorial introduction unpacks the term ‘Singapore New Wave’ as a starting point for this Special Issue to raise questions about the changes that appear to be happening in S…
Drama production and audiences as ‘affective superaddressee’ in an illiberal democracy
There is a long history of television and film research that highlights the essential roles audiences play in everyday production decisions. Based largely on Western media industries, these studies’ investigations of producer–audience relationships have revolved predominantly around the market concerns of liberal media models. So how do producer–audience relationships work when it comes to illiberal contexts of media production? Using Singapore a…
Transnational media production from the margins of “Cultural China”: The case of Singapore’s media producers
The rise of the PRC as a producer of mass culture marks a reconfiguration of “East Asian Popular Culture” as media producers are now actively seeking opportunities to enter the Mainland Chinese market. While the implications of this trend for the media industries of Taiwan and Hong Kong are well-documented, Singapore’s participation in this cultural formation remains comparatively understudied. Often deemed by their Chinese counterparts as lackin…
Envisioning cultural commoning: New Cultural Commons editors’ dialogue on Global South perspectives, inclusivity and Cultural Studies
They don’t need us’: Affective precarity and critique in transnational media work from the margins of ‘Cultural China’
Creative labour studies has yielded much critical insights from workers’ experiences of ‘precarity’ and ‘self-exploitation’ with increasing neo-liberalization. This important work’s overwhelming focus on the critique of neoliberalism based on Euro American case studies risk overlooking insights that can be gained from other socio-geopolitical contexts. Drawing on a mix of ethnographic observations and interviews with transnational media producers…
Regional partnerships and media policy in the age of China’s rise: The case of Singapore-China film co-productions
Despite being the first Asian country (except for Hong Kong) to sign a film co-production agreement with China, Singapore's film co-productions with China so far are few and far between, none of which have come under the official agreement. This raises wider questions about the policy making challenges of small nations when driving or facilitating regional collaborations with partners like China. Drawing on interviews with key interlocutors in th…
Imagining audiences in the age of generative AI
This Cultural Commons article examines how generative AI reconfigures practices of imagining audiences in media and cultural production. Moving beyond dominant debates on labour, creativity, and audience preference, it draws on the concept of imagined audiences to recentre questions of culture, meaning, and power. From a production studies perspective, the article identifies three key problematics intensified by AI: the shifting visibility of aud…
Political science (7 works) · Sociology (6 works) · Socioeconomic Development in Asia (5 works) · Asian Culture and Media Studies (4 works) · Art (3 works) · China (3 works) · Ethnography (3 works) · Law (3 works) · Social science (3 works) · Aesthetics (2 works)