Streaming Southeast Asia

deadline for submissions: 
January 3, 2022
full name / name of organization: 
Emma Baulch, Monash University Malaysia
contact email: 

Streaming Southeast Asia seeks to map the landscape of streaming platforms in Southeast Asia and to explore the
plurality of its disruptive force. It applies a Southeast Asian lens to address stock questions elicited by the streaming
phenomenon worldwide. Possible topics for contributions include, but are not limited to:

  • Political economies: business models, ownership, regulation, media industries, pirate/shadow economies
  • Archives: genre categories, catalogue curation, playlists, the play of algorithms, exclusions, informal or shadow archives
  • Technologies: mobile streaming, informal streaming ecologies, streaming infrastructures
  • Circuits: intended & unintended distribution paths, networked distribution, minor transnationalisms
  • Subjects & the social: the algorithmic self, fandom, personal archiving practices, P2P networks

Since the 2010s, Southeast Asia has become host to scores of streaming platforms, giving rise to an intricate and diverse political economy, new kinds of streaming audiences, a spaghetti junction circuitry channelling various kinds of content locally, regionally and globally in different ways, and new transactional cultures affording large numbers of un-banked
Asian consumers access to streaming content via informally traded memory cards and USB sticks. In the media and communications field, discussion of how streaming disrupts the production, circulation and consumption of audio and video content has been shaped by studies of major players such as Netflix, Spotify, and Apple ITunes. This means our understanding of streaming is limited to the affordances and business models of a few well-known platforms. Recent reports show that those such as the Chinese-owned Joox, and the Singapore-based Viu, lead the Southeast Asian market for audio and video streaming respectively. Platform landscapes also vary from country to country as Chinese and North American platforms compete with local startups, and this means that Southeast Asian streaming audiences are being differentiated in distinct ways in different sites.This workshop applies a Southeast Asian lens to address some of the stock
questions elicited by the streaming phenomenon worldwide. What is the relationship between the rise of streaming and the spread of smartphones in the region, and how is it implicated in shifting practices and meanings of TV, film and music consumption? What is included and excluded from streaming platform catalogues and how does such curation affect long
standing taste regimes or genre categories? How does it affect the visibility of independent productions, popular art traditions, or the aesthetic diversity with which consumers are presented? How does the streaming phenomenon help forge new circulatory routes for content to/ from Southeast Asia, fostering minor transnationalism? How can we account for
the enduring currency of streaming publics, members of which act collectively, against a background of the discourse of ‘on demand’ that algorithmically forges each streaming consumer as a unique individual? Streaming Southeast Asia is a pre-conference event ahead of the Asian Studies Association of Australia Conference, which will take place at
Monash University Malaysia and Monash University Australia on 5-7 July to 10 participants from the Southeast Asia region. Accepted participants will be required to submit a 5000 word paper by February 15, 2022 in order to qualify for funding. The workshop will be dedicated to providing detailed feedback on individual papers in order to prepare a special issue for a Q1 journal