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Here are a few that cities should keep in mind: First, urban greening projects need strong leadership and support at the political and executive level, alongside a well-resourced project team. A stunning vertical forest in Milan, Italy.
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I think it goes to show that we have lost that land ethic as we urbanize. But at the same time, I think that traces of the old land exist on the periphery of Singapore. For example, Ubin, an island that is off the northeast coast, is known for still retaining the village life that used to be in Singapore as recently as s. People there still go into the mangroves and hook crabs out of the crab barrels.
A local newspaper interviewed a guy who goes into the mangroves and catches crabs. Yogesh, in your work, you also talk about urbanity versus the kampung. Can you explain what that means in the Singaporean context? Yogesh Tulsi: My essay really focused on the period after World War II in the s, right before Singapore gained independence in the mids. During this period, Singapore was rapidly beginning to urbanize.
The newly forming state tried to get everyone out of the villages—out of the kampung—into residential flats. So you see this kind of displacement happening, where residents of villages are being asked to leave their traditional homes and move into new flats created by the new government. There was some resistance from Indigenous people—people who are attached to traditional ways of life, people who have lived in their villages, in their homes, for generations.
A lot of the films from this period in the s actually deal with this tension and try to imagine what a Malayan modernity would look like. They tend to play up this tension between the kampung or the village and the city. In my work, I look at two horror films of the time that deal with this monster, the Orang Minyak—the oily man—who threatens the village. I read the Orang Minyak as a representation of modernity, with oil as a synecdoche of modernity.
While all the other monster movies of this period tend to draw on older myths, the Orang Minyak has no Malay precedents. So it becomes a modern monster, a petro-modern monster, if you will, which represents growing anxieties, growing fears, but also growing promises for modernity at the same time.
WL: I want to ask about genre and environmental studies. What got you interested in horror movies? In horror film, you get these ideas of the abject and the Other—an Other as opposed to how Singaporeans of the day saw themselves. When you watch the film today, it becomes a representation of petrochemical companies and a potent symbol of our relationship with oil. That was my gateway into these films: trying to reframe these horror films as also responding to and commenting on modernity.
WL: Many of the essays in this book gesture toward the potential for collective efforts to tackle the current climate crisis. But what does collective responsibility look like?
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