Cambodia (Topographics) and over 2 million other books are available for Amazon Kindle . Learn more

Sign in to turn on 1-Click ordering.
More Buying Choices
Have one to sell? Sell yours here
Sorry, this item is not available in
Image not available for
Image not available

Start reading Cambodia (Topographics) on your Kindle in under a minute.

Don't have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App.

Cambodia (Topographics) [Paperback]

Michael Freeman

RRP: 14.95
Price: 13.23 & FREE Delivery in the UK. Details
You Save: 1.72 (12%)
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
Usually dispatched within 1 to 2 months.
Dispatched from and sold by Amazon. Gift-wrap available.


Amazon Price New from Used from
Kindle Edition 12.57  
Paperback 13.23  

Book Description

6 Feb 2004 Topographics
Cambodia has a long and rich history, first becoming an artistic and religious power in Southeast Asia in the Angkor period (802 - 1432), when its kings ruled from vast temple complexes at Angkor Wat and Angkor Thom. The cultural influence of Cambodia on other countries in the region has been enormous, quite out of keeping with its reduced territory and limited political and economic power today. In "Cambodia", writer and photographer Michael Freeman examines the country's present troubled situation in the light of its political and cultural history, looking at many aspects of modern Cambodia, including the psychological effect of the outrages of Pol Pot, and how Angkor Wat has become an icon and symbol for its tourist and heritage industry. In the process he relates personal stories and anecdotes from Cambodia's recent and more ancient history, such as royal white elephants and buffalo sacrifices in villages; how spiders are cooked and eaten; and the incidence of cannibalism in Cambodian warfare. Cambodia is sometimes shocking, often humorous, and always entertaining, and will give the reader a new insight into the history of this maltreated yet fascinating country.

Product details

Product Description


'we never lose sight of contemporary Cambodia . . . Freeman has a talent for intelligent integration of the past and present.' --Times Higher Education

'Very well designed, beautifully illustrated, this volume gives us the past and present of one of the most unknown countries of Asia.' --Japan Times

'we never lose sight of contemporary Cambodia . . . Freeman has a talent for intelligent integration of the past and present.' --Times Higher Education

'Very well designed, beautifully illustrated, this volume gives us the past and present of one of the most unknown countries of Asia.' --Japan Times

About the Author

Michael Freeman is an author and photographer based in London. He has written and photographed many books, including Palaces of the Gods: Khmer Art & Architecture in Thailand (2001), Angkor/Icon (2003) and Ricelands: The World of South-east Asian Food (Reaktion, 2008).

Customer Reviews

There are no customer reviews yet on
5 star
4 star
3 star
2 star
1 star
Most Helpful Customer Reviews on (beta) 4.5 out of 5 stars  2 reviews
1 of 1 people found the following review helpful
4.0 out of 5 stars A good but limited introduction 25 Mar 2013
By Acorn - Published on
Format:Paperback|Verified Purchase
This is very much an idiosyncratic view of Cambodia by a photographer and journalist who has visited the country several times since 1989 and who has a particular interest in Khmer fine arts. If you are looking to understand what drives Cambodian society and the themes that underlie the culture, this is not the book for you. But it does provide many insights into aspects of the country and is a well written and informed personal account of Michael Freeman's encounters with a place that remains off the radar for many visitors to south-east Asia.

The opening chapter gives a quick overview of Cambodian history. Like other countries in the region Cambodia was defined by royal and religious centres until the British and French colonial powers arrived on the scene in the nineteenth century and demarcated borders supported by international treaties. The compactness and distinctive geography of Cambodia today determine the sites of major towns and the population's reliance on rice and fish as staples, but from the eleventh to the fifteenth centuries the Khmer empire dominated the region, ruling over much of present day Thailand, southern Vietnam and southern Laos, its supremacy only rivalled by the Cham empire situated in what is now central Vietnam. The Thais and Vietnamese arrived in this region later than the Khmers but the rise of those two groups and the rivalry between them have plagued Cambodia for over four hundred years right up to the present.

Cambodia is probably best known internationally because of the Khmer Rouge period, a national trauma from which the country has yet to fully recover. Freeman mentions it throughout the book but gives it detailed attention in chapter four. Unfortunately he tends to focus on the sensational - soldiers eating the livers of dead enemies - more than the causes of the conflict and the ignominious and cynical roles of the United States, China and Thailand, countries that actively allowed the Cambodian people to suffer for many years in order to pursue their selfish geopolitical interests.

Angkor Wat is the symbol of Cambodia that is most recognised by outsiders and certainly it is one of the world's great monuments, though only one part of a complex of temples that stretches over a wide area that is still not fully mapped or understood. In chapters two and three Freeman gives a personal account of visits to the complex and the history of interest in it from artists, archaeologists and the inevitable treasure hunters. He briefly recounts the role of André Malraux in the last category, a story which is covered in detail in Axel Madsen's Silk Roads. Freeman also gives an insightful account of the industry in Thailand that produces high quality fakes of ancient Khmer art, fed by insatiable demand on the world art market and corruption and collusion in both Cambodia and Thailand.

In the final chapter, Freeman turns his attention to Cambodian arts and their revival since the Khmer Rouge period. At the time he wrote this book there was only one cinema in Phnom Penh despite there having been a thriving industry in the 1960s. It is a sign of Phnom Penh's rapid economic growth that there are now several film houses, including modern multiplex cinemas operated by foreign companies. Cambodians are avid filmgoers, though don't expect audiences to sit in silent appreciation! Classical dance and theatre forms have been revived but oddly there is no mention of the thriving painting and sculpture scene that has grown up in Cambodia since the 1990s and spawned dozens of shops and galleries in Phnom Penh and other cities.

There are some, largely negative, references to politics in the book but no description of the political system and the poor quality of governance in the country. Cambodia has an extraordinarily young population which is bright and enthusiastic but there are few jobs and a startling discrepancy between wealth in the cities and abject poverty in the countryside. While other ASEAN countries are generally thriving, Cambodia still struggles to provide basic utilities and services for its population despite the enormous wealth being extracted by the elite - the Khmers Riches as they are known. Large investors are absent, their place filled by small companies from Vietnam, China and increasingly South Korea that have little regard for quality of production or human resource development. All of these trends were present when Freeman visited Cambodia and wrote this book, but all are absent from his story.

Having raised the spectre of the Khmer Rouge period, Freeman ignores its continuing impact on Khmer society - worryingly high rates of mental illness and domestic and sexual violence, thuggery as the political tool of choice, and a chronic weakness in governing skills - and the attempts of ordinary Cambodians to try and cope with this. The book instead follows Freeman's personal interests: the journalist's love of attention grabbing scenes and the artist's love of fine art forms. It is clear that he has a great affection for the country but there is much more about Cambodia that could have been said. This book provides an interesting introduction to some elements of Cambodian society and Freeman has an easy style and an eye for telling detail, but you will need to read more widely to get a better grasp of this sad but inspiring country and his bibliography is a good place to start.
0 of 1 people found the following review helpful
5.0 out of 5 stars Good memoir about angkor wat and life in cambodia 7 Jan 2013
By G. Rao - Published on
I bought this for a trip to Cambodia, and read it during the trip.

It's a quick read done in a stream of consciousness style, and helpful for background info.

Mainly, it details the author's experiences during several trips to Cambodia, during which he photographed the ancient temples at Angkor for various projects. It has the feel of journalism to it, although he isn't really reporting news.

It makes a great companion piece to the book Ancient Angkor, also by Freeman, as it gives a lot of background to what went on behind the scenes between Freeman and his colleague, Claude Jacques.
Were these reviews helpful?   Let us know

Customer Discussions

This product's forum
Discussion Replies Latest Post
No discussions yet

Ask questions, Share opinions, Gain insight
Start a new discussion
First post:
Prompts for sign-in

Search Customer Discussions
Search all Amazon discussions

Look for similar items by category