Ferguson, JaneKhoo, Gaik ChengBarker, ThomasAinslie, Mary J2021-02-019789048541904http://hdl.handle.net/1885/220441The early years of Burmese postcolonial independence (1948) saw a tremendous expansion of the Tatmadaw (Burmese Armed Forces) predicated on an ongoing civil war and the Kuomintang ‘incursion’ in the northeastern Shan State. The same years comprised the beginning of the so-called ‘golden age’ of Burmese cinema. Amidst fijilms of various genres, historical fijiction war fijilms glorifying Burmese soldiers and peasants as heroes, and constructing archetypes of enemies to the country’s independence marked an important shift from earlier colonial-era nationalist fijilms which had sought to reclaim Burmese sovereignty by harking back to the grandeur of prior Burmese dynasties. Instead, while war experiences are homogenized and enemies are stereotyped, national heroes were now created as part of a post-independence political milieu.application/pdfen-AU© Gaik Cheng Khoo, Thomas Barker & Mary J. Ainslie / Amsterdam University Press B.V., Amsterdam 2020Burmawar fijilmsnation-buildingCold War202010.5117/9789462989344_ch032020-11-02