The interview was motivated by an interest in exploring how Singapore film directors perceive the three major Chinese cinema awards, mainly the Golden Horse Awards (GHA), Hong Kong Film Awards (HKFA) and Golden Rooster Awards(GRA), and what they might signify for Singapore cinema, especially for a nation that is predominantly ethnic Chinese. Amongst the directors interviewed, Boo Junfeng went beyond to share his views on film education, funding and the implications of racial politics and ethic privilege underlying the nomination for international film awards.
{"title":"Boo Junfeng on funding, festivals and Chinese privilege","authors":"H. W. Ng","doi":"10.1386/ac_00018_7","DOIUrl":"https://doi.org/10.1386/ac_00018_7","url":null,"abstract":"The interview was motivated by an interest in exploring how Singapore film directors perceive the three major Chinese cinema awards, mainly the Golden Horse Awards (GHA), Hong Kong Film Awards (HKFA) and Golden Rooster Awards(GRA), and what they might signify for Singapore cinema, especially for a nation that is predominantly ethnic Chinese. Amongst the directors interviewed, Boo Junfeng went beyond to share his views on film education, funding and the implications of racial politics and ethic privilege underlying the nomination for international film awards.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"31 1","pages":"131-137"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41585988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Drawing from the idea of national revival, which is closely associated with the term ‘new wave’, this article examines the implications of how winning international film awards, with a focus on how the Taipei Golden Horse Awards (GHA) is variously understood by Singapore filmmakers. If film festivals and awards are crucial to constituting the ‘Singapore new wave’, how does GHA perceivably shape filmmaking and the way filmmakers understand issues of identity, language, prestige and cultural sensibilities? Based on interviews with ten Singapore directors and a producer-film festival director, media reports, film reviews and social media posts, I demonstrate that the supposed prestige of GHA is fraught with conflicting understandings of ‘Chineseness’, impartiality, inclusivity and credibility. For a sovereign country with a high ethnic Chinese population like Singapore which claims a national identity that is multilingual and multi-ethnic, at stake are the problematics of Chinese geopolitics and the linguistic-cultural practices of exclusion when it comes to GHA nominations and wins.
{"title":"Taipei Golden Horse film awards and Singapore cinema: Prestige, privilege and disarticulation","authors":"H. W. Ng","doi":"10.1386/ac_00015_1","DOIUrl":"https://doi.org/10.1386/ac_00015_1","url":null,"abstract":"Drawing from the idea of national revival, which is closely associated with the term ‘new wave’, this article examines the implications of how winning international film awards, with a focus on how the Taipei Golden Horse Awards (GHA) is variously understood by Singapore filmmakers. If film festivals and awards are crucial to constituting the ‘Singapore new wave’, how does GHA perceivably shape filmmaking and the way filmmakers understand issues of identity, language, prestige and cultural sensibilities? Based on interviews with ten Singapore directors and a producer-film festival director, media reports, film reviews and social media posts, I demonstrate that the supposed prestige of GHA is fraught with conflicting understandings of ‘Chineseness’, impartiality, inclusivity and credibility. For a sovereign country with a high ethnic Chinese population like Singapore which claims a national identity that is multilingual and multi-ethnic, at stake are the problematics of Chinese geopolitics and the linguistic-cultural practices of exclusion when it comes to GHA nominations and wins.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46187016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-01DOI: 10.6153/EXP.201912_(42).0009
Michael Ingham
My article reassesses the direct cinema documentaries of respected and influential documentarians, festival organizers and documentary teachers Tammy Cheung and Augustine Lam in the light of the profound changes Hong Kong has experienced since their work was produced and distributed in the first decade of the new millennium. The present commentary on their body of work is conceived primarily as a critical retrospective, although it seems highly like they will continue to make films in self-imposed exile related to the new Hong Kong diaspora. In this article I am interested in tracing a through-line in their work and connecting the subject-matter of their sociological documentaries with the profound changes that have taken place in Hong Kong society and culture over the past few years.
{"title":"Too much reality? Reflections on the educational-observational film world of Tammy Cheung and Augustine Lam","authors":"Michael Ingham","doi":"10.6153/EXP.201912_(42).0009","DOIUrl":"https://doi.org/10.6153/EXP.201912_(42).0009","url":null,"abstract":"My article reassesses the direct cinema documentaries of respected and influential documentarians, festival organizers and documentary teachers Tammy Cheung and Augustine Lam in the light of the profound changes Hong Kong has experienced since their work was produced and distributed in the first decade of the new millennium. The present commentary on their body of work is conceived primarily as a critical retrospective, although it seems highly like they will continue to make films in self-imposed exile related to the new Hong Kong diaspora. In this article I am interested in tracing a through-line in their work and connecting the subject-matter of their sociological documentaries with the profound changes that have taken place in Hong Kong society and culture over the past few years.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45978658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What can the poetic or experimental mode of documentary contribute to the discourses of the New Taiwan Documentaries, particularly the ones that address everyday eco-disasters in the Pacific Rim during the climate change era? In this article, I use Huang Hsin-yao’s Daishui yun (Nimbus) (2009) and Shenmei zhi dao (Taivalu: Taiwan vs. Tuvalu) (2010) as case studies of what I call ‘cli-fi ethnographic documentary’. These documentaries demonstrate that the employment of the poetic documentary mode, as a filmic strategy, provides a different outlet to address the tension, for example, between planetary suffering, eco-aesthetics, human psychological adaptability and environmental justice. Here the Taiwanese directors dare to imagine a broader, deep-time, more-than-human multispecies world, affect and aesthetics, while not eschewing the question of justice, accountability and causality.
{"title":"Documenting life in the era of climate change: Huang Hsin-yao’s Nimbus and Taivalu","authors":"Chia-ju Chang","doi":"10.1386/ac_00006_1","DOIUrl":"https://doi.org/10.1386/ac_00006_1","url":null,"abstract":"What can the poetic or experimental mode of documentary contribute to the discourses of the New Taiwan Documentaries, particularly the ones that address everyday eco-disasters in the Pacific Rim during the climate change era? In this article, I use Huang Hsin-yao’s Daishui\u0000 yun (Nimbus) (2009) and Shenmei zhi dao (Taivalu: Taiwan vs. Tuvalu) (2010) as case studies of what I call ‘cli-fi ethnographic documentary’. These documentaries demonstrate that the employment of the poetic documentary mode, as a filmic strategy, provides\u0000 a different outlet to address the tension, for example, between planetary suffering, eco-aesthetics, human psychological adaptability and environmental justice. Here the Taiwanese directors dare to imagine a broader, deep-time, more-than-human multispecies world, affect and aesthetics, while\u0000 not eschewing the question of justice, accountability and causality.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47678310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through an engagement with interactions between human cognition and social and natural ecologies, recent South Korean films critique perceived deficiencies in Korean cultural forms and practices. The two eco-themed films that are the main focus of this article, Daeho (The Tiger) and Syupeomaenieotteon Sanai (A Man Who Was Superman), thematize an implicit acquiescence to the environmental status quo within South Korea’s inward-looking culture. A Man Who Was Superman, in particular, articulates nested social structures with the effect that social ecology affords a meta-level for a range of social and ecological issues. The foregrounding of these issues is achieved by disrupting the narrative expectations associated with a particular genre ‐ that is, by modal shifts into magical realism and CGI, by evocations of transcendence and by uses of point-of-view shots that present many scenes from a non-human perspective. In each film, viewer interaction with embodied simulation of affect and emotion produces a response which is simultaneously cognitive, empathic and potentially ethical.
通过参与人类认知与社会和自然生态之间的互动，最近的韩国电影批评了韩国文化形式和实践中的不足。这两部以生态为主题的电影是本文的主要焦点，《老虎》（The Tiger）和《超人》（A Man Who Was Superman），主题化了对韩国内向文化中环境现状的默许。特别是，《超人》阐明了嵌套的社会结构，社会生态学为一系列社会和生态问题提供了一个元层面。这些问题的前瞻性是通过打破与特定类型相关的叙事预期来实现的，即通过向魔幻现实主义和CGI的模式转变，通过唤起超越性，以及通过使用从非人类视角呈现许多场景的视角镜头。在每部电影中，观众与情感和情感的具体模拟互动会产生一种同时具有认知性、移情性和潜在道德性的反应。
{"title":"Social ecology and ecological knowledge in South Korean ecocinema","authors":"Sung-Ae Lee","doi":"10.1386/ac_00003_1","DOIUrl":"https://doi.org/10.1386/ac_00003_1","url":null,"abstract":"Through an engagement with interactions between human cognition and social and natural ecologies, recent South Korean films critique perceived deficiencies in Korean cultural forms and practices. The two eco-themed films that are the main focus of this article, Daeho (The\u0000 Tiger) and Syupeomaenieotteon Sanai (A Man Who Was Superman), thematize an implicit acquiescence to the environmental status quo within South Korea’s inward-looking culture. A Man Who Was Superman, in particular, articulates nested social structures with the\u0000 effect that social ecology affords a meta-level for a range of social and ecological issues. The foregrounding of these issues is achieved by disrupting the narrative expectations associated with a particular genre ‐ that is, by modal shifts into magical realism and CGI, by evocations\u0000 of transcendence and by uses of point-of-view shots that present many scenes from a non-human perspective. In each film, viewer interaction with embodied simulation of affect and emotion produces a response which is simultaneously cognitive, empathic and potentially ethical.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42824609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Special issue introduction: Why Asian ecocinema?","authors":"Winnie L. M. Yee","doi":"10.1386/ac_00001_2","DOIUrl":"https://doi.org/10.1386/ac_00001_2","url":null,"abstract":"","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ac_00001_2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43106621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The exploitation of nature for man’s insatiable desires is analogous to the subordination of ethnic minorities in many third world countries. This has also found resonance in the cinematic representations of the natural environment and the ethnic and racial profiling of people of these countries. The Northeast of India has always found little mention in the dominant discourse of the Indian nation. Along with this, the age-old rhetoric of exploitation of its natural resources and the lackadaisical attitude of the Indian state towards its people has led to a growing sense of alienation among the people of this peripheral Indian land. The matter is further aggravated by the region’s distorted representations in popular Bollywood films. The article offers an ecocritical reading of two Bollywood films about Northeast India to understand how cinematic landscapes can be used to impart ideas about specific places. We argue that the very landscapes the filmmakers use to present ideas about places can be used to highlight the politics of place-based identities and to attempt a critique of their position in the nationalist discourse.
{"title":"Cinematic landscapes of Northeast India through an ecocritical lens","authors":"Swikrita Dowerah, D. Nath","doi":"10.1386/ac_00004_1","DOIUrl":"https://doi.org/10.1386/ac_00004_1","url":null,"abstract":"The exploitation of nature for man’s insatiable desires is analogous to the subordination of ethnic minorities in many third world countries. This has also found resonance in the cinematic representations of the natural environment and the ethnic and racial profiling of people\u0000 of these countries. The Northeast of India has always found little mention in the dominant discourse of the Indian nation. Along with this, the age-old rhetoric of exploitation of its natural resources and the lackadaisical attitude of the Indian state towards its people has led to a growing\u0000 sense of alienation among the people of this peripheral Indian land. The matter is further aggravated by the region’s distorted representations in popular Bollywood films. The article offers an ecocritical reading of two Bollywood films about Northeast India to understand how cinematic\u0000 landscapes can be used to impart ideas about specific places. We argue that the very landscapes the filmmakers use to present ideas about places can be used to highlight the politics of place-based identities and to attempt a critique of their position in the nationalist discourse.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41949488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"13th Asian Cinema Studies Society Conference: The Environments of Asian Cinemas, La Salle College of the Arts, Singapore, 24‐26 June 2019","authors":"R. Hyland","doi":"10.1386/ac_00009_7","DOIUrl":"https://doi.org/10.1386/ac_00009_7","url":null,"abstract":"","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44213606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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