This book chapter investigates the multifarious ways that film, video and digital projections are used in theatrical stage productions, and the vast range of ideas, meanings and effects they create. Case studies of practitioners including Katie Mitchell, Robert Lepage, the Wooster Group and The Builders Association illustrate the myriad ways in which theatre thinks through, investigates and experiments with the potent conjunction of live performance and recorded media.

Singapore celebrated 50 years of independence in 2015. The nation state has been repeatedly criticized as “a cultural desert” by scholars due to the cosmopolitan nature of the society. However, animated short films from Singapore are increasingly engaging national identity and culture as their premise.

It has been observed that students of the 3D Animation programme at LASALLE College of the Arts tend to produce work that lacks stylistic exploration. This could be due to the conventional approach of the software adopted by students - one that involves texturing (colouring) each object individually before lighting them together in a virtual scene. When colouring each isolated object without being able to envisage the overall design, students tend to let the software dictate the visual style of their work.

Representations of the end of the world gain currency in moments of social crisis. But such representations are more often the product of political strategies than of uncontrolled social anxieties. This chapter refers on early colonial religious drama in Mexico and on the Shi’ite ritual performances of Ta’ziyeh in order to highlight the extent to which theatrical characterisations and representations of the end of times, its agents, the afterlife, and the powers that control them may get weaponised on the grounds of creating a sense of apocalyptic agency.

This paper examines the early sculptural and installation practices of renowned Thai artist and writer, Araya Rasdjarmrearnsook (b. 1957). Although most scholarly and curatorial attention has focused on Araya’s moving image works, particularly those that involve corp hope of developing a chronological account of Araya’s artistic development, but is instead an attempt to read her early three-dimensional works through insights gleaned from her later artistic and literary practice. Specifically, in examining Araya’s work from an inter-medial persp between moving and static bodies.