Vol. 11 Issue biblioasia01 APR–JUN 2015 02 / Op-Ed by Glen Goei 06 / Early Cinema 12 / Golden Age of Malay Film 20 / Singapore in Western Film 24 / Revival of Singapore Cinema 32 / Movie Memorabilia BiblioAsia Director’s Note Editorial & CONTENTS Vol. 11 / Issue 01 Apr–Jun 2015 Production The Asian Film Archive (AFA) was established in 2005. The National Library Board incor- Managing Editor porated the National Archives of Singapore in March 2013, followed by the AFA in January Francis Dorai 2014. The AFA serves as a repository for films from all over Asia. Many fine Asian films OPINION make their rounds on international festival circuits, winning critical acclaim and awards, Editor but are often not released commercially. Without the preservation work of the AFA, these Stephanie Pee films – which are part of our Asian heritage and identity – might be forgotten or lost forever. Editorial Support 02 The AFA celebrates its 10th anniversary this year, having come a long way from its Masamah Ahmad simple beginnings but always adhering to its mission “to save, explore and share the Art of Veronica Chee My Leap into Movies Asian Cinema”. In this issue, executive director of the AFA, Karen Chan, takes a look back at the AFA’s first 10 years, sharing its vision and the challenges it faces in film archiving. Design and Print This year, the 19th South East Asia-Pacific Audiovisual Archives Association (SEAPA- Oxygen Studio Designs Pte Ltd VAA) Conference will be held in Singapore from 22 to 28 April, and is hosted by the National Contributors Library Board. We look forward to this significant meeting of representatives from film Nor Afidah Abd Rahman, archive institutions from all over Asia. Karen Chan, Glen Goei, This issue of BiblioAsia is aptly dedicated to the subject of film. Michelle Heng, Kwa Chong Guan, Gracie Lee, Raphael FEATURES Few people are aware that cinema in Singapore has had a long history, dating as Millet, Ben Slater, Bonny Tan, 06 far back as 1896. Bonny Tan traces its development from the arrival of the Magic Lan- From Tents to Picture Palaces: Thong Kay Wee, Georgina tern – the precursor of the modern cinema – to Singapore’s earliest indigenous films: Wong, Wong Han Min Early Singapore Cinema Xin Ke (1927, The Immigrant) and Leila Majnun (1934). After the lull period during the Japanese Occupation came the golden age of Malay cinema, from 1947 to 1972. This Please direct all 25-year period gave rise to more than 250 films as well as local celebrity stars like correspondence to: National Library Board 12 P. Ramlee, Jins Shamsudin, Siput Sarawak and Maria Menado (of Pontianak movie fame), 100 Victoria Street #14-01 among others. Michelle Heng and Nor Afidah Abd Rahman examine the films and studios National Library Building The Golden Age of Malay of this illustrious era. Singapore 188064 Cinema: 1947–1972 Singapore has been an alluring set location for Western filmmakers since the early Tel: +65 6332 3255 1930s. Our guest writer Ben Slater looks at movies shot in Singapore over the years and Email: [email protected] Website: www.nlb.gov.sg examines foreign perceptions of Singapore that range from the seedy and the exotic to the mysterious and futuristic. On the cover: 20 After the 1970s, local filmmaking again crawled to a standstill and remained so for Image by Oxygen Studio Spies, Virgins, Pimps and Hitmen: the next two decades. Raphaël Millet discusses the resurgence of Singapore films from Designs Pte Ltd, showing Singapore Through the Western Lens the 1990s to the present, looking through the lens of established auteurs such as an old-style cinema seat chart from 1977 with ticket stubs and as well as newer talents like Boo Junfeng, Anthony Chen and Ken Kwek. from the since demolished Guest columnist and two-time Glen Goei mulls over his transition from Orchard Cinema. the stage to the screen in “My Leap into Movies”. His remake of Pontianak – an homage 24 to the golden age of Malay film in Singapore – is currently in production and slated for The Revival of Singapore Cinema: release in 2017. 1995–2014 Also preserving memories from yesteryear is Wong Han Min, a collector of film- related memorabilia. He shares items such as old ticket stubs, posters, advertisements All rights reserved. National Library Board, and other ephemera, giving us a glimpse into movie-going in the past. The older genera- Singapore, 2015. tion will remember buying cinema tickets with seat numbers scrawled in crayon; they will 32 also recall those helpful ushers without whom many would have ended up stumbling in ISSN 0219-8126 (print) ISSN 1793-9968 (online) My Movie Memorabilia the dark and taking the wrong seat. While commercial films have a successful track record in Singapore, art house mov- The views of writers and con- tributors do not reflect the views ies have often struggled to find their footing. Gracie Lee examines the challenges faced of the Publisher. No part of this by alternative films in “Culture on Celluloid”. publication may be reproduced in any form or by any means without We are lucky in Singapore to have hosted many film festivals and to enjoy easy access prior written permission from the 38 to numerous films from all over the globe. More than just entertainment, films open Publisher and copyright owner(s). Culture on Celluloid: a window into different cultures and societies. Whilst reasonable care is taken Alternative Films in Singapore to ensure the accuracy of the in- Ms Tay Ai Cheng formation in this publication, the Publisher accepts no legal liabili- Deputy CEO ties whatsoever for the contents of 44 National Library Board this magazine. A Moving Journey: Film, Archiving and Curatorship NL NOTES BiblioAsia is a free quarterly publication produced by the National Library Board. It features articles on the history, culture and heritage of Singapore 50 56 61 within the larger Asian context, and has a strong focus on the collections and Searching for Singapore in From the Life Stories services of the National Library. BiblioAsia is distributed to local and international Old Maps and Sea Charts Director's Chair libraries, academic institutions, government ministries and agencies, as well as members of the public. The online edition of BiblioAsia is available at: http://www.nlb.gov.sg/Browse/ BiblioAsia.aspx

01 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Opinion

Film stills from Forever Fever (1998), starring Adrian Pang, Pierre Png, Anna Belle Francis and Medaline Tan. Courtesy of Tiger My Leap Tiger Pictures. Into Movies Theatre thespian and film director Glen Goei reflects on his transition from the stage to cinema screen.

copyright fees for the use of 10 pop songs. Fortunately, it was a risk that paid off. My first film,Forever Fever, was born out I was forced to think about possible storylines about producing a film apart from that stint from , who later of a situation of sheer desperation. It was for films. On returning to London, I set out to at NYU? My background was in theatre for picked up Forever Fever for an international 1995, and I’d been living in the UK for nearly produce a film based on Ming Cher’sSpider goodness' sake. To make matters worse, release, said it was the music that allowed m15 years. I was a 32-year-old West End ac- Boys, a gritty novel about youth gangs in 1950s the filmmaking scene in Singapore was him to connect with the film. Fortunately, tor, had won a couple of awards as theatre Singapore. Unfortunately, before filming could practically nonexistent. The now defunct screenings in international audience mar- director on the London stage, and had been take place in 1997, the project fell through China Runn Pictures, which I’d engaged to kets ensured a healthy profit forForever running an Asian theatre company called due to casting problems. Dejected but not co-produce Forever Fever, had previously Fever – its local takings would not have Mu-Lan Arts for close to five years. It was defeated, I became more determined to only shot commercials and documentaries. come close to breaking even. after our fourth production – the staging of make a film – no matter what the odds were. What was I thinking? Eleven years later, when I made my Three Japanese Women at London’s Soho The problem was I didn’t have a script. I didn't know of any production company second film The Blue Mansion, I wasn’t as Theatre – that reality sunk in: the audi- I locked myself in my basement with a book that worked solely in film. In desperation, fortunate. I blew the budget and despite ence numbers were not increasing and the on screenwriting and forced myself to write, I roped in friends for help, like actress Tan good reviews, the murder-mystery thriller company’s finances were dwindling. I grew never having written anything beyond aca- Kheng Hua, who became my casting director. set in turned out to be a financial despondent. Despite receiving awards and demic essays at university. Miraculously, by There wasn’t a large pool of talent around and disaster at the box office. I lost all the money great reviews from the British media, there the end of the month, I’d written the first she hired many fresh faces that audiences I had made on Forever Fever. Once again, just wasn’t sufficient demand for theatre with draft: I had in my hands the makings of the today have become familiar with. I found it hard to find a producer who could actors of Asian descent (or Orientals, as less filmForever Fever. Inexperience and a lack of resources handle the demands of a feature film. Local informed Brits are wont to say). I packed a suitcase and headed home. posed critical problems to funding and producers rarely have the opportunity to Artistically frustrated, I left for New When I returned to Singapore at the budgeting. To make the film, I ended up handle big budgets and shoot large-scale York to do a short course in film at New York end of 1997 to make Forever Fever, the mortgaging my apartment in London. films. Truth be told, it’s a chicken-and-egg University (NYU), where not unexpectedly, challenges were immense. What did I know I was stupidly naïve then, even paying huge situation: local films remain small because

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our population, however, converse in Chinese dialects in their homes. This is why Chinese films tend to do better at the domestic box office. I’ve recently started to source for funding for my next film Pontianak, and already, I’ve faced rejection for its language. A local production company (that will remain unnamed) has chosen not to invest in the film because it will be in Malay and does not feature any Chinese actors. The perceived financial risks are just too high. My earliest memories of watching movies are of Malay films screened by Radio Television Singapore (RTS) in the 1960s and 70s. Pontianak is my homage to the Golden Age of filmmaking in Singapore and the highly successful string of iconic Pontianak films that were produced by Cathay-Keris and Shaw in the late 1950s. These movies were in Malay and were watched by many regardless of their race or the language they spoke. Society felt more diverse and embracing of other cultures back then, possibly because we were searching for an identity in post-World War II Singapore. To the market for them is small. I needed – and be true to the spirit of the original films and still need – producers who can handle the that period of our history, it is essential that funding, the budgeting, and manage the my remake of Pontianak be filmed in Malay. scale and complexities of making a feature Our nation’s films are visual docu- film; the demands are completely different ments of our culture, traditions, languages from television. and history. We should learn to look at film I took a personal hit financially with as a cultural product and not an economic The Blue Mansion, mainly because it failed commodity with a price and a return on to secure international distribution. At a investment. We need to develop a culture foreign film market, I was told by a film of filmmaking and film appreciation in order executive in all seriousness that the film to address this narrow view of this art form, would sell better if it was in Chinese (I didn’t and by extension, the difficulties of funding, know whether to laugh or cry). In fact, for developing and maintaining an industry. It is both my films, I found there to be resistance grossly reductive to say that we are a small among investors and distributors to the idea market or a young country when there existed of Asians speaking English in a film. In its a thriving film industry in 1950s Singapore. North American release, Forever Fever was One also only needs to look at Kong, dubbed over by American actors because of a city not much larger than Singapore, for fears that audiences would not understand proof of the potential possibilities. the Singaporean actors. Changing a film’s To develop a culture of filmmaking, language to pander to an audience market risks need to be taken by investors from perplexes me. Shouldn’t a film’s marketability both the public and private sectors, with be based on its merits and not its language? the former leading the way. The Media As a nation of immigrants, Singaporeans Development Authority and the Singapore have no common language except for English; Film Commission have been established to it has become our official lingua franca and Pontianak is my homage to the Golden Age of promote film and to award grants to assist our situation is unique for an Asian country. young filmmakers. Unfortunately, there is As a director, I make films about the Singa- an institutionalised preference to fund films filmmaking in Singapore and the highly successful pore I know – a Singapore where English or with commercial merit and to veer away from rather Singlish is primarily used as a means the untried or untested. In a country where of communication. A significant majority of string of iconic Pontianak films that were produced the media is regulated, it is in theatre and film that an artist can – and should – have a (Facing page) The movie poster for Glen Goei's by Cathay-Keris and Shaw in the late 1950s. latest film, Pontianak, slated for release in 2017. voice. The importance of film goes beyond Courtesy of Tiger Tiger Pictures. pure entertainment and profit. There must (On this page) The Blue Mansion is a murder be institutional support for films in all the mystery starring Lim Kay Siu (top left and middle, extreme left), Claire Wong, Louisa Chong, Adrian different genres. Only then might we have Pang, Tan Kheng Hua and Karen Tan (middle from a chance at growing our film scene into the left to right), and the late Emma Yong (bottom). industry we dream of presently. Courtesy of Tiger Tiger Pictures.

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petry), or sit in rapt attention to bangsawan, These earliest screenings were attrac- Peninsula, the Malay archipelago and be- a dance, music and drama performance that tive only because of their novelty factor. In yond.15 Business entrepreneurs who saw the drew from the cultural heritage of the Arabs retrospect, the long wait between each commercial potential of this new technology and adapted European tales into the local vignette, “the incessant flickering, and the brought in reels of film with a large repertoire Malay language.4 large and frequent blotches of white that of shows. In Singapore, early cinema manag- The predecessor to the modern cinema traversed the screen when …nearing what ers would pitch makeshift tents in the style FROM was the Magic Lantern where images were promised to be the most interesting part of of a circus, either on Beach Road or at the projected and manipulated, either to tell a the subject” detracted from the pleasure of foot of Fort Canning Hill. One even billed story or create an effect on stage. One of the the experience.13 The developing technology itself as the “Barnum of Cinematographs”.16 earliest of such shows in Singapore was a was the cause of these discomforts in part, Using tents gave flexibility to these phantasmagoria – which projected images but the tropical weather was also a factor: set-ups as seats, for example, could of ghosts, spirits and other scary apparitions “(f)licker and vibration visible on the screen easily be brought in from nearby hotels or TENTS TO at the Theatre Royal by a Monsieur George were due to the effect of the moisture of the patrons could stand in between chairs.17 in 1846.5 By the 1880s, Magic Lantern shows atmosphere causing the films to stick and These tents were far from makeshift: were regularly screened as entertainment run at times unevenly…”.14 Short live per- Matsuo’s Japanese Cinematograph along for military families,6 in local churches formances to keep the audience entertained Beach Road was commended for its tent for religious edification7 and in schools served as fillers during technical glitches, a decorations as well as its ventilation and PICTURE for education.8 change in film or other delays. Eventually, lighting.18 Not to be outdone, the tent next to In 1896, the first experience of an ani- as the technology improved, the films began it, the London Chronograph, was described mated image using American technology – to run more smoothly and were marked by as “fitted with electric lights and fans; the the Kinetoscope – was brought to Singapore fewer interruptions. seating accommodation is good, special by Dr Harley, an illusionist. The Kinetoscope attention having been paid to the comfort 19 PALACES was a standing box where patrons, one at The Business of Early Cinema of anticipated patrons.” a time, could watch scenes ranging from Existing stage halls and music rooms dances to cock fights through a peephole The business, set-up and location of film- also served as prime locations for screen- Early viewer at the top of the box. Images were houses mirrored the trend set by circuses ings. These included the Adelphi Hall, which captured on celluloid and quickly run through that were already doing their rounds at the was part of the Adelphi Hotel at Coleman a series of wheels by an electric motor, aided time in Singapore and key cities of the Malay Street, and the Town Hall at Empress Place Singapore by an electric lamp shining through it, thus giving the impression of animation. Several Kinetoscope boxes were exhibited for several days in July 1896 at Messrs. Robinson’s music Cinema 9 store for a limited number of people. Just a year later, in May 1897, the Few people are aware that Singapore’s cinema Ripograph, better known as the Giant Cin- history dates back to as early as 1896. Bonny Tan ematograph, was brought from Paris by a man named Arthur Sullivan who boldly traces its development, from the days of the Magic advertised that the 10,000-dollar equip- ment projected “the largest life pictures Lantern projector to the first locally made films. in the world”10 (it is likely that Sullivan exaggerated the cost and size of images for “All we can say to Singapore’s pleasure-seekers is that if they do not like a couple of commercial advantage). This was less than hours to hang heavily on their hands they could not do better than wend their steps to two years after the first public screening of the Company’s tent after dinner and feast their eyes on this unique and novel exhibition.” a movie in France by the Lumiere brothers in December 1895.11 The Ripograph was – “The Royal Cinematograph”, Eastern Daily Mail and Straits Morning Advertiser, described as “a mechanical arrangement of 20 February 1907 instantaneous photographs taken at about twenty to forty exposures per second on a fine continuous film and from what could be seen, it gives a very accurate picture of (Facing page) Plan of a cinematograph animate existence. The pictures, projected tent located at Jalan Sungei at Singapore’s first public film screening is The First Film Experiences by a magic lantern on to a screen in front of Road in 1908. Building often mistakenly attributed to Basrai, a Control Authority Collection, courtesy When the cinema age descended on Singa- those present, give a natural appearance to travelling Parsi impresario who is believed of the National Archives of Singapore. pore at the turn of the 19th century, its evening the scenes depicted.”12 (Above) A man watching a scene to have shown the movie in April 1902 in a entertainment offerings were already varied. Meanwhile, new cinematographic using the Kinetoscope. tent pitched at the junction of Hill Street Via Wikimedia Commons. Europeans, dressed to the nines would head inventions came fast and furious from the sand River Valley Road.1 (Above right) The Serpentine Dance, Archival newspaper off for lavish dinner parties that continued laboratories of Thomas Edison in America a form of burlesque, was one of the reports, however, indicate that the April 1902 Bonny Tan is a Senior Librarian with the until past 9pm.3 They would then either play and the creative minds of the French, such first vignettes screened at the Aldephi screening was organised by the American National Library of Singapore. Her interest a round of cards or proceed to a theatrical as the Lumiere Brothers and Leon Bouly. Hall in 1897. © The Serpentine Dance. in the history of films was sparked after she Biograph Company at the foot of Fort Can- Directed by Louis Lumiere, produced performance that stretched late into the The Cinematograph, the Bioscope, the Bio- uncovered little known facets of colonial life ning along Hill Street.2 But the real story of by Lumiere. France, 1897. in early newspapers of Singapore. She would night. Locals, on the other hand, would graph, the Vitascope and the Projectoscope (Right) Frenchmen August and Singapore’s film history movies predates this Louis Lumiere were one of the first like to thank Nadi Tofighian for his help in gather in open-air spaces to watch Chinese were introduced in quick succession – each first public screening and is much richer filmmakers in history.Via pixgood.com. reviewing this article. opera, Javanese wayang kulit (shadow pup- touted to be better than the former. than previously thought.

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(which was later rebuilt as Victoria Theatre (Left) The Road to Singapore (1931) is a romantic drama starring William and Concert Hall). Some of the earliest mov- Powell and Doris Kenyou. © The Road to Singapore. Directed by Alfred ies were screened at these venues. In 1897, E. Green, produced and distributed by Warner Bros. United States, 1931. daily screenings at the Adelphi Hall included Courtesy of Wong Han Min. vignettes such as The Charge of Lancers, (Below) A Day at Singapore, featured short snippets of life in Singapore. © A Day at Singapore. Directed by George Méliès, 1913. The Serpentine Dance and Li Hung-Chang (Bottom left) George Méliès (1861–1938) was a French illusionist and in Paris, with admission costing 50 cents filmmaker.Via Wikimedia Commons. for back-row seats and $1 for front seats. 20 Some hotels, in fact, modified their structures to allow for the screening of mov- ies, such as the Raffles Hotel, which in June 1908 converted its Billiard Hall to a Music Hall to screen films by Edison Studios, a film production company founded by the inven- tor Thomas Edison.21 These sophisticated locations charged higher entrance fees and invariably attracted the upper echelons of society. In 1908, the Raffles Hotel immedi- ately raised its ticket price to $2 after the success of their first screening –Ben Hur.22 In its earliest years, the business of cinematography was tenuous and the management of these tents and halls frequently changed hands. However, as cinema’s popularity – and financial returns – grew, the tents soon gave way to simple constructed halls and, subsequently, to more elaborately designed “picture palaces”. French entrepreneur Paul Picard, with support from jewellers Levy Hermanos, is often credited for opening the first enclosed cinema in Singapore in 1904, the Paris Cinematograph, which occupied a section rented from the Malay Theatre on Victoria Harbour, Scenes in Batavia, Malay Street.23 Other larger cinema halls soon Dancing and FMS Railway. Harold sprouted, including the Alhambra (1907) and Mease Lomas was one such cam- Marlborough (1909) along Beach Road and eraman who took extensive “living the Palladium (1914) on .24 pictures” of North Borneo in 1903, The early entertainment empire builder 1904 and 1908 while working for before the advent of Shaw and Cathay was the Urban Bioscope Company.33 Tan Cheng Kee, the eldest son of pioneer These films of Borneo “must have business leader Tan Keong Saik. He not only been secured at great labour and invested in the key theatres – the Alhambra, (Above) Adelphi Hotel on Coleman Street, as seen in a 1906 postcard. Adelphi Hall, where Singapore’s expense, if not danger, and excel- by Georges Méliès, Joan Crawford and Ramon Novarro, Sal of the Marlborough and the Palladium Cinema earliest film screenings were held in 1897, was part of the hotel.Arshak C Galstaun Collection, lently portray conditions among which showcased “a Singapore (1928) produced by Howard Higgin, courtesy of the National Archives of Singapore. – but also revamped their decor and worked (Top) A 1930 postcard of the Alhambra cinema along Beach Road. Taken from the book Singapore: 500 the wilder Malay tribes of that most interesting little The Crimson City (1928, also known as out a sound business strategy.25 Early Postcards, published by Editions Didier Millet (2007). Courtesy of Prof Cheah Jin Seng. great island”.34 trip...to see one of the La Schiava di Singapore) starring Myrna Loy Tan engaged artist W.J. Watson to add By 1907, film distribution had largest seaports in and Anna May Wong, The Road to Singapore colour and grandeur to the proscenium “costly curtains” that draped down the stage From as early as 1897, short films such as moved from the hands of itinerant the world”.37 Méliès (1931) shot by Alfred E. Green, and between of the Alhambra. Painted in opal blue, doors, a “beautifully tiled floor”, electric lights, The Jubilee Procession in London which businessmen importing American was world renowned 1923 and 1933, Out of Singapore directed by amethyst, gold orange and crimson, it had large mirrors and a private telephone booth. 27 commemorated the British Queen’s reign and European films. Singapore had become for his fantastical movies using special effects Charles Hutchinson and Malay Nights (also “ten flags of the leading nations group Tan paid $25,000 for the Palladium and the British Empire’s rule, were frequently a distribution centre of films in the region, such as A Trip to the Moon (1902) and The known as Shadows of Singapore).38 round an architectural arch and pediment (also designed by J.B. Westerhout) a mere featured.30 What is less known is that since with French company Pathé Freres as a key Impossible Voyage (1904). His film on Singa- The 1933 film Samarang (see text box enclosing the screen. The wreathed bust of four years after it was built.28 This was a steal the earliest screening of film in Singapore, anchor.35 This transformed the ease with pore was made during his travels through overleaf), styled as a pseudo-documentary Shakespeare [was] in the centre over the considering it had cost $60,000 to construct. aspects of Malaya and the region have been which films could be obtained, the scale in the South Pacific and Asia between 1912 (only to allow some nudity), is likely the word ‘Alhambra’, surrounded by roses.”26 Tan continued to push the envelope with featured in these seedling productions. which they were shown and the variety of and 1913. It is uncertain if these short films earliest Hollywood feature film to be shot in In 1916, the Alhambra was rebuilt and the development of local cinemas, fitting M. Talbot, one of the first to film the wonders films that could be screened. were ever screened in Singapore, though Singapore. However, it was the Singapore- renamed the New Alhambra. Designed by them in 1930 with equipment for sound so of “Malay Native life”, screened his produc- News documentaries became a regular they were certainly shown in other countries. made vernacular films Xin Ke ( 新客, The Eurasian architect Johannes Bartholomew that the first “talkies” could be screened.29 tion of boys bathing in a river in Batavia and feature in the cinemas when The Animated While narrative films featuring Immigrant, 1927) and Leila Majnun (1934) (Birch) Westerhout, the New Alhambra elegant Javanese dancing girls at the Adelphi Gazette, produced by Pathé Freres, was Singapore came out of then-budding that made a bigger impact on the local film 31 36 accommodated an audience of 1,500 with a Malaya in Early Films Hall in 1898. This film was subsequently broadcast weekly at the Alhambra in 1910. Hollywood soon after, they were often only scene. These productions were produced by variety of seats, including special box seats, exhibited in Bangkok to rave reviews.32 Singapore’s port and seascapes were often Singaporean in name; these films were not Asians, featured an Asian cast and carried each holding comfortable armchairs, and a A great variety of shows were screened in By this time, local cinemas were filmed, sometimes as standalone featurettes, shot on location in Singapore, and worse, authentic storylines. These films made set specially designated box for members of the Singapore’s early cinemas – from street regularly screening films showing snip- like the 1910 Pathé film,Singapore, or as rarely featured Asian actors. These include the scene for the flourishing of the Malayan Malay royalty. Other lavish details included processions to snippets of life in Malaya. pets of life in the region, such as Singapore short vignettes, such as A Day at Singapore MGM’s Across to Singapore (1928) starring film industry in the 1950s.

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Straits Times, p. 5; Untitled. (1903, January 10). 1. (1903, October 20). , p. 1 The Straits Times, p. 4. 34 The Japanese Cinematograph. (1906, November 6). THE FIRST MADE-IN-SINGAPORE FILMS Leila Majnun 3 Makepeace, et. Al. (1991). One hundred years of Eastern Daily Mail and Straits Morning Advertiser, p. 3. Leila Majnun (1934) is the first Malay- Singapore, pp. 477-478. Vol 2. Singapore: Oxford 35 Tofighian, pp. 136, 142-146 University Press. 36 Latest in cinematography. (1910, July 21). The Straits Samarang language feature film produced in Sin- 4 Tan, S. B. (1997). Bangsawan: a social and stylistic Times, p. 6 gapore. The film is a tragedy in the vein Released in 1933 and shot off the coast of history of popular Malay opera, pp. 26, 35. Penang: 37 A day at Singapore. IMDb. Retrieved December 16, of Shakespeare’s Romeo and Juliet with The Asian Centre. 2014 from http://www.imdb.com/title/tt1149212/ & On in 1932, Samarang (also known as elements of the Arabian One Thousand 5 The Singapore: Saturday, Nov. 28th 1846 . (1846, cinema. Retrieved December 16, 2014 from https:// Semarang, Out of the Sea and Shark Woman) November 28). The Straits Times, p. 2 bthiam.wordpress.com/tag/melies/. and One Nights. The plot centres on two is probably Hollywood’s first production to 6 Untitled . (1883, February 5). The Straits Times, p. 2 38 Millet, p.20 lovers, Leila and Majnun, whose love 7 Local and general. (1887, July 13). Straits Times Weekly 39 “Out of the sea” off Singapore. (1932, October 9). The be filmed entirely in Singapore. Samarang is forbidden due to social conventions. Issue, p. 2 Straits Times, p. 9; The camera men are coming! (1933, recounts the romance between a pearl fish- 8 Magic Lantern entertainment. (1895, August 23). Mid- June 18). The Straits Times, p. 9 Majnun is driven to despair and mad- erman and a local chieftan’s daughter with day Herald, p. 3 40 Hun Ping. (2014). Of lost kampongs, fishnet bondage ness, thus living up to his name Majnun, 9 Edison’s kinetoscope. (1896, July 13). The Straits Times, and remnant tombs in an equatorial Hollywood. cannibals, sharks and a python thrown in for which means “madness” in Arabic. p. 2 Sgfilmhunter. Retrieved December 18, 2014 from http:// good measure. It was produced by United In the 1930s, Rai Bahadur Seth 10 Page 2 Advertisements Column 2 [Advertisements]. sgfilmhunter.wordpress.com/2013/01/10/of-lost- Artists and B.F. Zeidman, directed by Ward (1897, May 20). The Straits Times, p. 2. kampongs-fishnet-bondage-and-remnant-tombs-in- Hurdutroy Motilal Chamria of Calcutta Wing and written by Lori Bara.39 11 Uhde, Jan & Uhde, Yvonne Ng. (2010). Latent images: an-equatorial-hollywood/ began distributing made-in-India films Film in Singapore,p. 2. Singapore: Ridge Books. 41 “Out of the sea” off Singapore. (1932, October 9). Samarang is the first Hollywood film in Singapore. In 1932, his Urdu version 12 The Ripograph. (1897, May 13). The Straits Times, p. 2 The Straits Times, p. 9; Samarang / Shark Woman. about Singapore where the lead actors 13 R. A. S. (1914, March 10). The cinematograph of Singapore Film Archive. Retrieved December 18, of Leila Majnun met with such success were locals, with Capt. A.V. Cockle playing the East. The Singapore Free Press and Mercantile 2014 from http://sgfilmlocations.com/2014/08/08/ in Bombay that he was inspired to pro- Advertiser (1884-1942), p. 1. samarang-1933/ the role of Ahmang, the North Bornean duce a Singapore version. Bardar Singh 14 The cinematograph. (1898, February 16). The Singapore 42 Page 8 Advertisements Column 1. (1933, October Dayak hero, and Theresa Seth as Sai-Yu, Free Press, p. 3 1). The Straits Times, p. 8; The Alhambra. (1933, Rajhans, who had already produced the Chinese beauty. Although both actors 15 Tofighian in his thesis expands on this further. September 30). The Singapore Free Press, p. 9; Page 9 two films in India, moved from Calcutta lived in Singapore, they were not of Asian Tofighian, Nadi. (2013).Blurring the colonial binary Advertisements Column 2. (1934, March 16). The Straits to Singapore to direct the film, which – turn-of-the-century transnational entertainment Times, p. 9; The Alhambra. (1933, September 30). The descent – Cockle, from Britain, was an in . Sweden: Acta Universitatis Singapore Free Press, p. 9. (Above) Poster cost $5,000 to produce. After the war, Stockholmeinsis. 43 Ha, Mordaunt. (1933, June 29). Samarang (1933). The Inspector of Police based here and Seth was of Samarang. Rajhans continued to shape the local 16 Page 3 Advertisements Column 1. (1906, May 21). New York Times. Retrieved December 18, 2014 from the daughter of an Armenian businessman © Samarang. Eastern Daily Mail and Straits Morning Advertiser, http://www.nytimes.com/movie/review?res=9906E0D61 40 Directed by Ward Malay film industry by directing several who had settled in Singapore. The leads p. 3. (P.T. Barnum was the American showman and 238E333A2575AC2A9609C946294D6CF Wing, produced other significant films. were obviously chosen for their telegenic businessman who founded the Barnum & Bailey Circus by United Artists The role of Leila was played by in 1875.) looks: Cockle had the brawny physique of and B.F. Zeidman, popular local star Fatima binti Jasman, 17 The Grand Cinematograph. (1907, September 2). distributed by a swimmer and Seth was a beauty pageant Eastern Daily Mail and Straits Morning Advertiser, p.3.; United Artists. a singer with HMV Records, while Syed contestant. Several locals, many of whom Royal Cinematograph. (1906, September 3). Eastern References United States, 1933. Ali bin Mansoor, a well-known bang- Daily Mail and Straits Morning Advertiser, p. 5. were experienced bangsawan actors, under- Courtesy of Wong sawan stage actor acted as Majnun. 18 Untitled . (1906, June 14). The Straits Times, p. 8; The Hang Tuah Arshad. (2004-2007). Malay movies: select took bit parts while much of the kampong Han Min. Japanese Cinematograph. (1906, June 6). Eastern Daily movie leaflets. : Meoral Publishing 41 (Right) The film’s gala opening was held scenes featured its own local residents. Mail and Straits Morning Advertiser, p. 5. House. RSEA 791.4309595 MAL Advertisements for on March 1934 at the Marlborough. The 19 The London Chronograph Show. ( 1906, May 28). Makepeace, et al. (1991). One hundred years of Singapore, Samarang was screened in the US in the opening of Leila dialogue was in classical Malay and Eastern Daily Mail and Straits Morning Advertiser, p. 2. pp. 477-478. Vol 2. Singapore: Oxford University Press. 1933 to rave reviews. The film’s popularity Majnun (1934). the film was much praised although 20 [Advertisements], 1897, May 20, p. 2 Call no.: RSING 959.57 ONE © Singapore Press might have been due to its novelty but also 21 Page 8 Advertisements Column 3. (1908, June 6). The Millet, Raphael. (2006). Singapore cinema. Singapore: Holdings. All rights there were criticisms over the techni- possibly because Sai-Yu is topless for most Straits Times, p. 8; Untitled. (1908, June 5). The Straits Editions Didier Millet. Call no.: RSING 791.43095957 MIL reserved. The cal quality of the pictures. In 1962, of the second half of the film. It was first Times, p. 6 Nangaen Chearavanont (Tse Yin), Au Ho & Ou Chiu Shui. Straits Times. B. N. Rao, by then an established direc- screened at the Alhambra in September 1933 22 Ben Hur at Raffles. (1908, June 8). The Singapore Free (2013). Film stories: Bangkok, , Singapore, tor, remade this movie as Laila Majnun. Press and Mercantile Advertiser (1884–1942), p. 4. Canton, San Francisco. : H. M. Ou. Retrieved and later at the Marlborough in 1934, where Xin Ke, a melodrama about a newly arrived By 7pm on the day of the test 23 Pilon, M & Weiler, D. (2011). The French in Singapore : February 16, 2015 from Googlebooks it was hailed as Singapore’s first talkie42 – an illustrated history (1819–today) (p. 100). Singapore : Nangaen Chearavanont (Tse Yin), Au Ho & Ou Chiu Shui Chinese in Singapore, in part to convey screening, more than 100 people were The full citations for Xin Ke and Leila although reviewers noted that it was “virtu- Editions Didier Millet. Call no.: RSING 305.84105957 PIL (2014). Movie stories. Thailand: H. M. Ou. Retrieved the social struggles and issues facing the already waiting in line for the free tickets Majnun can be found on HistorySG 24 Cinema has colourful history in Singapore. (1938, February 16, 2015 from Googlebooks ally a silent film except for a synchronized immigrant Chinese. Liu also hoped to revive that were given out at the entrance of (http://eresources.nlb.gov.sg/history) July 27). The Singapore Free Press and Mercantile Pilon, M & Weiler, D. (2011). The French in Singapore : An music score and occasional choral singing. Advertiser (1884–1942), p. 4. illustrated history (1819–today). Singapore: Editions an interest in Chinese culture among the Victoria Theatre and by the time the film The action [was] explained by subtitles, 25 “Talkie” invasion. (1929, December 17). The Singapore Didier Millet. Call no.: RSING 305.84105957 PIL Chinese community in Singapore, while started, the 500-seat theatre was full. Free Press, p. 11; Talkies in Singapore. (1930, April 19). Tan, S. B. (1997). Bangsawan: a social and stylistic history and although there [were] melodramatic depicting the life of an overseas Chinese The black-and-white silent film totalled The Straits Times, p. 12 of popular Malay opera. Penang: The Asian Centre. Call episodes, they [were] for the most part set to the Chinese in China. nine reels and was accompanied by both 26 Untitled . (1914, April 18). The Straits Times, p. 8 no.: RSEA 782.1095951 TAN forth with… little skill.”43 27 The New Alhambra. (1916, January 13). The Singapore Tofighian, Nadi. (2013).Blurring the colonial binary – Working from a rented house at 58 Chinese and English subtitles. Free Press, p. 12 turn-of-the-century transnational entertainment Meyer Road that served as a studio, staff Xin Ke is unique because many 28 Untitled . (1918, May 1). The Straits Times, p. 8; Modern in Southeast Asia. Sweden: Acta Universitatis Xin Ke (新客, The New Immigrant) dormitory and film processing room, Liu local films produced thereafter were in Notes entertainment. (1913, December 24). The Singapore Stockholmeinsis. Free Press, p. 412; The Palladium Theatre. (1913, Uhde, Jan & Uhde, Yvonne Ng. (2010). Latent images: Film Produced by Liu Beijin, 新客 (Xin Ke; The New purchased French-made cinematographic Malay. It wasn’t until almost two decades 1 Millet, R. (2006). Singapore cinema (p. 16). Singapore: September 24). The Straits Times, p. 9 in Singapore. Singapore: Ridge Books. Call no.: RSING Immigrant, 1927) is believed to be the first equipment and auditioned more than 100 later in July 1946 that a major produc- Editions Didier Millet and “Thirty years of film 29 Talkies in Singapore. (1930, April 19). The Straits Times, 384.8095957 UHD Chinese feature film that was completely shot prospective actors for his film. tion in Chinese made its appearance entertainment”. (1932, January 2). The Singapore Free p. 12 Uhde, Jan & Uhde, Yvonne Ng. (2013, Apr – Jun). “The Press and Mercantile Advertiser (1884-1942), p. 20. 30 Tofighian, p. 221 ‘The Projectoscope’, Straits Times, 19 Immigrant: Singapore’s first feature”,Cinemateque . in Singapore and Malaya. Of Fujian origins, The scenes were shot at the Botanic in Singapore with the release of Blood 2 Busrai is likely a reference to Messrs Busrai Co., a August 1897, 2; Advertisement, Singapore Free Press, (p. 37). Singapore: National Museum of Singapore. Liu (1902–1959) was born in Singapore but Gardens in Singapore and the interiors and Tears of Overseas Chinese (华侨 company dealing with unique products such as the 21 August 1897, 2; Notice, Singapore Free Press, 24 Retrieved August 28, 2014 from Usmar Ismail Academia grew up in Muar, Johor. Although inspired by of 58 Meyer Road, as well as across the 血泪) by China Film Studio. Soon after Perpetual Pencil and the Dragon Pen. They were August 1897, 1; Notice, Straits Times, 6 September website the booming Shanghainese movie industry, causeway on rubber plantations and at its premier in Singapore, Xin Ke was also owners of the Royal Bioscope which screened 1897, 2; Notice, Singapore Free Press, 7 September Van der Heide, William. (2002). Malaysian cinema, Asian movies at a Beach Road tent at the end of 1902. The 1897, 1; ‘The Projectoscope’, Straits Times, 14 film: border crossings and national cultures (pp. 126). he felt slighted as an overseas Chinese when the Sultan of Johor’s palace. Production released in Hong Kong as Tang Shan screening moved to the Hill Street location only on September 1897, 3. Amsterdam: Amsterdam University Press. RSEA 791.43 he visited China in December 1925. ended in February 1927 and in the follow- Lai Ke (唐山來客). Xin Ke was the only 10 January 1903. Page 2 Advertisements Column 3 31 The scenimatograph. (1898, January 20). The Singapore VAN When Liu returned home three ing month, the film had its test screening film that Liu released, but unfortunately [Advertisements]. (1902, April 21) The Singapore Free Free Press, p. 3 Zamberi A. Malek & Aimi Jarr. (2005). Malaysian films: the Press and Mercantile Advertiser (1884-1942), p. 2. ); 32 Page 2 Advertisements Column 4. (1898, January 17). beginning. Ampang, Selangor Darul Ehsan: National months later, he was inspired to produce at Victoria Theatre. the original reels are no longer extant. Untitled. (1902, July 23). The Straits Times, p. 4; Page The Singapore Free Press, p. 2; Tofighian, p. 80 Film Development Corporation . Call no.: 5 Advertisements Column 3. (1902, October 17). The 33 Tofighian, pp. 212-213; Page 1 Advertisements Column RSING 791.43095957 MOD

10 11 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature

Nor Afidah Bte Abd Rahman is a Senior Librarian with the National Library of Singapore and a regular contributor to BiblioAsia.

Michelle Heng is a Librarian with the National Library of Singapore. She compiled and edited Singapore Word Maps: A Chapbook of Edwin THE GOLDEN Thumboo’s New and Selected Place Poems (2012), and more recently, Selected Poems of AGE OF MALAY Goh Poh Seng (2014).

CINEMA industry. The success of this film paved the studios such as MGM and Paramount, Shaw way for other Malays to direct films that suited enjoyed an almost unrivalled monopoly of the community’s sensibilities and ignited far- the Malay film industry. Between 1947 and reaching changes in the screen image of the 1952 alone, the prolific MFP produced 37 modern Malay and his struggle to come to feature films, the first of which was B.S. terms with a rapidly changing world.4 Rajhan’s Singapura Di Waktu Malam (1947, 1947–1972 Singapore Night).10 Shaw Brothers vs Cathay-Keris While the Shaws' pre-World War II Malay films featured bangsawan actors The winds of change, as far as post-World War and were helmed by Chinese directors II domestic film production was concerned, including Hou Yao and Wan Hoi Ling, MFP’s Azizah, the alluring customer-turned-love- had already swept through Singapore with stable of experienced Indian directors interest of trishaw-rider Amran (played by the 1947 release of the first post-war Malay brought in from the subcontinent ensured a screen legend P. Ramlee) visits his run-down film,Seruan Merdeka (The Call For Freedom),5 steady flow of Indian-influenced films with hut for the first time in Penarek Becha (1955). produced by S.M. Chisty of Malayan Arts 'overstylised' acting as well as song and aWhen Amran bemoans his humble station Productions, and directed by the influential dance sequences.11 Certain cultural barriers, in life, she delivers a sagely line in return, Calcutta-born auteur, B.S. Rajhans, who was however, proved difficult to overcome as the “Tuhan tidak akan memberi sahaja kalau also the director of the first Malay-language direct translation of movie plots, dialogues manusia tidak berusaha (God won’t just help film in Singapore, Laila Majnun (1934).6 Star- and style carried over from Indian films people unless they make an effort).”1 The ring Salleh Ghani and Siti Tanjung Perak, caused rifts between foreign and home- audience watches with bated breath as this Seruan Merdeka focused on how young Malay grown talents at MFP.12 beauty-with-brains helps her humble beau and came together to At this point, Rajhans recognised the make a success of his life. Azizah (played by resist the Japanese occupiers. It was a rare need to infuse his crew with fresh blood the sweetheart of Malay movies, Sa’adiah) screen outing as it was unusual to see both instead of relying solely on the local tradi- vows to help him attend night school. This Malay and Chinese actors on the screen. Al- tional bangsawan (Malay opera) performers turns out to be just the kind of push an though the film was a commercial failure due who had crossed over into the world of moving honest-but-poor trishaw rider needs to scale to a lack of cinemas, and consequently, limited pictures. Whilst on talent-scouting trips in the rigid social ladder of the time and seek exposure, Seruan Merdeka 7 marked the start the Malay Peninsular and Singapore, Rajhans the blessings of her parents. For cinema of what was to become the 25-year-long spotted the young musician P. Ramlee and audiences, the film’s central theme – the golden age of Malay cinema in Singapore.8 rejection of inequality through the pursuit Shortly after World War II, Shaw Broth- (Facing page) Maria Menado as the pontianak in of education – was a timely reminder of the ers reopened their film production studios at B.N. Rao's 1957 Dendam Pontianak. © Dendam 2 Pontianak. Directed by B. Narayan Rao, produced Few people are aware that Singapore need for self-reliance: Malaya was in the 8 Jalan Ampas, which had closed during the by Cathay-Keris Films. Singapore, 1957. was once the hub for Malay filmmaking midst of agitating for independence from Japanese Occupation. In a shrewd business (Top left) P. Ramlee was an actor-singer who her British colonial administrators. move, Shaw Brothers started Malay Film starred in many of Shaw's MFP's films. © 120 Malay Movies, Amir Muhammad, published by in Southeast Asia. Nor-Afidah Bte Abd Penarek Becha (The Trishaw Puller) Productions (MFP) Ltd in order to tailor-make Matahari Books, 2010. Rahman and Michelle Heng recount was a major box office hit when it was movies for the growing number of Malay (Top right) A 1948 flyer advertisingSingapura Di released in 1955 and was a watershed film3 film-buffs in Singapore and Malaya, which Waktu Malam (Singapore Night), one of MFP’s for both its actor-director, P. Ramlee – the at the time was the most rapidly expanding earliest Malay films and starring Siput Sarawak and its fabled history. Bachtiar Effendi. © Singapura Di Waktu Malam. 9 multi-hyphenate Renaissance Man of the regional market. Adopting the lucrative, Directed by B.S. Rajhans, produced by Malay Film Malay silver screen – as well as the local film vertically-integrated models of Hollywood Productions, 1947. Courtesy of Wong Han Min.

12 13 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature quickly hired the charismatic singer-actor. its status as the hub of the Malay film industry. Ramlee made his screen debut in the 1948 The emergence of television as an alternative AKAN DATANG: 1951,48 recalled that Shaw added new poster, while a huge one would take four film Chinta (Love), playing the supporting medium was one of the key factors that led THE ART OF THE FILM POSTER studios to accommodate the increasing to five days to complete.55 role of a swarthy villain opposite screen siren to the demise of the homegrown tinsel towns workload with the success of MFP. One of According to Chew Poi Yong, Cathay’s Siput Sarawak.13 along Jalan Ampas and .26 While It’s been decades but I do the rooms of Studio No 9 at Jalan Ampas painter in the early 1950s, two key ingre- Not to be eclipsed was rival Cathay marquee names like P. Ramlee tried to gain remember some of the people (in the area) was where the dients for a good poster were proportion Organisation’s Cathay-Keris Films with its a foothold in the Malaysian film industry, film my father [director Jamil poster artists worked.49 and colour: “…the first [was] to get the studios at Jalan Keris in the East Coast talent in Singapore decided to focus their Sulong] used to work with in Shaw’s first art director wasbang - exaggerated dimensions right and the area. In 1953, Cathay's chairman Loke Wan efforts on the small screen. New made-for- Jalan Ampas. The one person sawan (Malay opera) backdrop painter, second to produce work that can be seen Tho teamed up with Keris Film Productions' TV Malay movies started trickling into the I remember clearly was Mohamamad Haniff (Pak Haniff).50 When from afar”. To get the right proportion, managing director Ho Ah Loke to form the vacuum as demand for entertainment was A. V. Bapat the art director Pak Haniff died, other local painters painters would first mark out squares Cathay-Keris Studio. Cathay-Keris was to picked up by Radio and Television Singapore for most of MFP’s movie[s]. If replaced him, such as Mustafa Yassin on the canvas with white chalk. Once the pose a serious challenge to Shaw Brothers (RTS), which released popular series such you manage to get a glimpse who remained as art director until Shaw’s sketch was made, they would go over the MFP’s dominance in the Malay film industry.14 as Awang Temberang 27 and Sandiwara.28 of the old Malay film posters last days in Singapore in 1967.51 China- outline with a blue marker. White paint was Ho was a maverick producer who cut his The void left by the end of the golden age of – more than likely that it was born Lim Ying Chang was employed as then painted all over as background and teeth in the industry in 1925; not only did he Malay cinema was also filled by Indonesian his handiwork (like the Raja an artist apprentice by Shaw after the through it the blue outline would appear buy a cinema in Ipoh at the age of 25, he also Malay-language films with stars such as Bersiong poster…) I like the way Japanese Occupation. He stayed with as smudges. The “fun” would then begin rode his bicycle to small neighbouring towns Brorey Marantika and Dicky Zulkarnain.29 he painted his posters…Uncle Shaw for 10 years and eventually became as the painters added the other colours.56 to screen his reels of films.15 After a former Meanwhile, in a quirky departure from Bapat has long since passed chief artist.52 Eventually, Shaw brought Hand-painted film posters went partnership with Rimau Film Productions had the past, independent producers made a on, … sad that sometimes his in Indian expertise, with names such J. through a boom from the 1950s until run its course, Ho formed his own company, string of English-language martial-arts- contributions to the Malay film S. Anthony and A. V. Bapat appearing as the 1970s with as many as 100 posters Keris Film, in 1952. Not long after, Cathay's themed films:Ring of Fury (1973), Bionic Boy industry is overlooked. As far as art director in the credit roll at the start commissioned per film. In the past, as Loke collaborated with Ho in the production (1977), They…Call Her Cleopatra Wong (1978) Actress-producer Maria Menado (of the Pontianak I know, he did sets, costumes of the MFP films.53 Bapat was MFP’s art many as 10 painters would be mobilised of Buloh Perindu (Magic Flute), believed to be and Dynamite Johnson (1978).30 The latter movie fame) in 1960. K.F. Wong collection, and all art direction when he director from 1957 until the Shaw Studio to complete a big billboard requiring the first Malay-language film shot in colour courtesy of the National Archives of Singapore. trilogy, directed by Filipino auteur, Bobby A. was at Jalan Ampas.46 closed in 1967 and is remembered for 100 pieces of plywood for mounting. As and released in 1953 under -Keris Suarez31 drew inspiration from the kungfu his close collaboration with director P. experienced painters retired and new Films banner.16 Due to the paucity of expertise Malaya’s first film-star producer with her own mania following Bruce Lee’s phenomenal Shaw’s Malay Film Production (MFP) Ramlee. One of Bapat’s last artworks was blood could not be attracted to join the and limited supply of filmmaking talent, Ho company, Maria Menado Productions, rivalling success and the blaxploitation genre that Ltd and Cathay-Keris Films sustained for Raja Bersiong, a film written by the profession, dwindling manpower meant was said to have recruited directors of Indian P. Ramlee’s status in the filmmaking sphere.21 had become hugely popular in the US.32 In movie-goers’ interest in new releases first Prime Minister of Malaysia, Tunku that only one painter was assigned to a origin from MFP as these auteurs had the particular, Cleopatra Wong, starring the through film tabloids and movie billboard Abdul Rahman.54 poster.57 By 1980, Shaw had closed down requisite years of experience from working 19-year-old Singaporean actress Doris Young A Steady Decline posters. Movie posters used to be the The poster painters normally copied its art studio that produced its posters58 with the Shaw Brothers. Among the talented (a.k.a Marrie Lee) quickly reached cult status only way people knew about what was from pictures they were given. Although and by the end of the 1980s, hand-painted directors were Dato L. Krishnan, B.N. Rao Following the 1957 strike at Shaw Brothers, and eventually inspired a young Quentin playing at the cinemas47 if they did not the work did not stretch their imaginations posters had given way to their digital rivals. and K.M. Basker.17 tensions among the Malay staff and Tarantino, who later referenced the spirited, buy magazines and newspapers. In the it was more important that they drew the A turning point in the Malay film industry resentment over labour disputes lingered fly-kicking Interpol agent heroine who could absence of digital technology, poster faces of the stars as accurately as pos- occurred in 1957 when a dispute broke out at MFP. In a few years, most of Shaw Brothers’ hold her own amongst the most violent thugs Hand-painted film posters were the rage from painters had to draw and colour movie sible. More challenging was enduring the the 1950s to 70s but slowed down by the 80s. between the film workers union, PERSAMA Malay-language film production had moved and villains in his Kill Bill movies.33 posters from scratch. long hours of squatting over the canvasses Here, Neo Choon Teck, one of Singapore’s last (Malayan Artists Union) and executives at to Kuala Lumpur.22 Its one profitable star, In all, more than 250 Malay-language surviving billboard artists, reprises his work The late director Jamil Sulong, as they painted. A team of two or three Shaw Brothers following the dismissal of five P. Ramlee was given the opportunity to films were produced in Singapore over the for the Singapore Short Film Awards in 2011. who joined the Shaw family in November painters would work on a single billboard Malay film actors and actresses employed by make a film, Seniwati (Female Artiste), in 25-year reign of the golden age of local film, Courtesy of SINdie (www.sindie.sg). MFP and agitations for wage increases and Hong Kong but this deal fell through amid spawning a line-up of celebrity Malay stars better employee prospects.18 A strike soon fears that such a venture would lack cultural in the process. These films have remained in followed. When negotiations remained at an resonance among the Malays and deal a blow the hearts of fervent fans who occasionally impasse, Cathay-Keris’ Ho allegedly muscled to the local film industry.23 With diminished get to watch re-runs on television specials in on the situation by sending rice supplies prospects, Ramlee moved to Kuala Lumpur and during film festival screenings. The and encouraging notes to the strikers in order in 1964, which coincided with a series of golden age of Malay cinema was symbolic to lure actors, directors and technicians to events leading to the decrease in Shaw for a generation of film audiences who his studios where better remuneration and Brothers’ Malay film production efforts in had witnessed the transition from an oral equipment beckoned.19 Singapore. By 1967, MFP had closed.24 storytelling tradition to a dynamic art form Following the strikes, Cathay-Keris Meanwhile, Cathay-Keris faced stiff on the silver screen. While the study of released one of the most notable cult films competition from television and the loss of Malay-language films remains somewhat in the Malay movie industry, Pontianak (1957), the Indonesian cinema-goers' market due overshadowed by other Asian cinematic arts, starring the radiant kebaya-queen from to the Konfrontasi (Confrontation) crisis it is heartening to see the revived interest in Indonesia, Maria Menado. The ghoulish tale between 1963 and 1966 that saw armed these films, which are celebrated regularly of a beauty-turned vampire who could only incursions and bomb attacks by Indonesian at film festivals, tribute exhibitions to film- be killed with a nail driven into her skull forces in Singapore. Cathay-Keris responded making talent of that era and, more recently, was directed by B.N. Rao. The phenomenal by retrenching 45 studio staff in 1965, and a a permanent gallery at the Malay Heritage success of Pontianak – which spawned the further 17 staff in 1966.25 By 1972, Cathay- Centre in Kampong Glam.34 sequel Dendam Pontianak (Pontianak’s Keris had produced its last film,Satu Titik Revenge) in the same year and consequently Di-Garisan (A Drop at the Line), marking the The authors have jointly curated the genre – heralded the arrival end of Malay film production in Singapore. a book display “ The Golden Age of Malay of Cathay-Keris as a formidable opponent in After Shaw and Cathay shut down Cinema”, at the Lee Kong Chian Reference the industry.20 Menado, too, rode the crest of their studios in Singapore and moved their Library, Level 8, National Library Building. her success in the Pontianak films to become operations to Kuala Lumpur, Singapore lost The display ends on 30 May 2015.

14 15 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature

TAYANGAN AKAN DATANG: POSTER LUKISAN TANGAN

Beberapa dekad telah berlalu tapi saya masih ingat dengan sekumpulan teman ayah yang dahulu bekerja di Jalan Ampas. Seorang yang masih segar di ingatan saya ialah A V Bapat, Pengarah Seni untuk kebanyakkan filem MFP [Malay Film Productions]. Kalau anda dapat melihat poster filem Melayu lama (seperti poster Raja Bersiong…), kemungkinan besar ia adalah hasil karya beliau. Saya minat dengan cara beliau melukis poster… Pakcik Bapat telah lama pergi bangunan-bangunan studio yang baru. Di dan ia menyedihkan kadang sebuah bilik di Studio No 9 yang baru inilah kala sumbangan beliau kepada tempat pelukis-pelukis poster berkarya. industri filem Melayu dilupakan. Mereka bekerja di bawah arahan seorang Setahu saya, beliau bertugas Pengarah Seni (nama glamour untuk sebagai pereka set, pakaian dan pelukis set). Awalnya di Shaw, jawatan ini semua kerja artistik semasa di disandang oleh Mohamamad Haniff (Pak Jalan Ampas. Haniff), seorang pelukis pentas bang- sawan. Ia merupakan pencapaian yang Shaw dan Cathay cuba memenuhi citarasa membanggakan kerana Shaw pada era ini peminat filem Melayu terhadap perkem- lebih banyak mengutamakan karyawan- bangan filem dengan mengeluarkan karyawan import dari India, China dan tabloid dan poster filem. Bagi yang tidak Hong Kong untuk memenuhi jawatan melanggan sebarang makalah, poster- pengarah dan juruteknik filem. Setelah poster filem yang dipamerkan di pawagam pemergian Pak Haniff, jawatannya di setempat adalah cara terunggul untuk ambil-alih oleh pelukis tempatan Mustafa mengetahui tayangan terkini dan yang Yassin yang terus berperan sebagai Art dapat ditonton dalam jangkamasa ter- Director sehingga hari-hari akhir Shaw di dekat. Di sebalik poster gah yang terpam- Singapura. Pelukis kelahiran China, Lim pang, mungkin ramai tidak dapat meneka Yin Chang, juga diambil oleh Shaw untuk yang banyak poster filem dihasilkan oleh berkhidmat sebagai pelukis perantis pelukis-pelukis yang hanya bersinglet selepas perang Jepun. Beliau menimba dan seluar pendek, dengan tangan comot pengelaman selama sepuluh tahun dan berlumuran cat. berjaya menjadi Chief Artist (Ketua Seni) sebelum meninggalkan studio Shaw. Waktu saya masih kecil, saya Namun Shaw turut menggajikan pelukis sering bermain di studio-studio dari India untuk pimpinan artistiknya dan [Jalan Ampas] ketika ibu-bapa­ nama-nama seperti J S Anthony dan saya sedang sibuk berkerja… A V Bapat dapat terlihat sebagai Pengarah dengan tepat tetap diutamakan. Yang penting untuk mencapai penglebaran keping boleh ditempah untuk setiap filem. membuat poster filemnya. Pada 2005, Ada tiga buah studio di Jalan Seni di dalam credit roll bagi filem-filem lebih mencabar ialah mereka terpaksa ukuran yang baik dan ciri kedua penting Namun, pelukis-pelukis yang telah lama hanya seorang pelukis poster, Neo Choon Ampas…Studio yang ketiga, di MFP. Bapat menjadi sebagai Pengarah menahan lenguh dan letih akibat ber- untuk membolehkan poster dilihat dari berkecimpung mula bersara semen- Teck, yang tinggal. mana ayah saya bertugas (dan Seni MFP dari 1957 sehingga studio itu cangkung berjam-jam untuk menyiapkan jauh. Untuk memudahkan pelukis dalam tara anak-muda tidak berminat untuk juga artis-artis yang melukis tutup pada 1967 dan banyak menyimpan poster, sehingga mencetuskan gurauan penglebaran yang seimbang, mereka menceburi kraf ini. Kalau dahulu, sera- canvas untuk billboard filem) kenangan manis ketika dia bergabung yang pelukis berperut gendut tidak akan akan membuat tanda empat persegi mai 10 pelukis dapat digembeling untuk telah dirobohkan dan diganti dengan pengarah legenda P Ramlee. sanggup melakukan perkerjaaan ini. dengan kapur putih. Selepas melakar menyiapkan sebuah billboard gah yang (Top left) Actress Normadiah on the cover of dengan bangunan pejabat… Salah satu hasil terakhirnya adalah untuk Lazimya dua atau tiga orang diberi sebuah gambar dengan marker biru, mereka memerlukan 100 keping plywood seba- the now defunct Malay-language entertainment filem Raja Bersiong, karangan mantan poster untuk disiapkan dan poster ukuran mencurahkan cat putih ke atasnya untuk gai backing. Dengan masa, tenaga yang monthly magazine, Asmara. MFP studio at Jalan Studio No 9 Jalan Ampas adalah Perdana Menteri pertama Malaysia, Tunku besar memakan masa empat atau lima warna latar dan corengan dari lakaran sudah berkurangan menjadikan sebuah Ampas stands in the background. © Asmara, Issue 23. Published by S.O.A. Alsagoff bangunan yang banyak melahirkan poster Abdul Rahman. hari untuk siap. gamabr tadi akan timbul. Maka bermu- poster itu terpaksa disiapkan oleh seorang for Geliga Publication Bureau (Singapore), 1956. lukisan tangan Malay Film Production Sebagai pelukis poster, mereka Dua ciri utama untuk menjayakan lalah kegiatan mencorak gambar itu pelukis sahaja. Setelah berakhirnya tahun (Above) Raja Bersiong is a 1968 historical film (MFP). Sambutan hangat terhadap filem banyak meniru gambar yang tersedia ada. poster ialah keseimbangan dan warna. dengan warna-warna yang lain. ‘80an, poster lukisan tangan mula akur written by former Malaysian prime minister Tunku Abdul Rahman. © Raja Bersiong. Directed MFP dan kegiatan perfileman yang menin- Hal ini tidak memeras kreativiti pelukis, Menurut Chew Poi Yong, seorang pelukis Permintaan untuk poster begitu dengan kehebatan poster digital. Bermula by Jamil Sulong, produced by Malay Film gkat mendorong, Shaw untuk menaikkan namun melukis wajah-wajah pelakon Cathay sejak tahun 50an, ciri pertama rancak dari 50an ke 70an, hingga 100 1980, Shaw telah menutup studio yang Productions, 1968.

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Sudiro, Bakarudin, Yusof Kelana, Raden Rafeah, Raden 48 Sulong, J. (1990). Kaca Permata: Memoir seorang Sumiani, Rosini and Norsiah Yem. pengarah (pp. 24-25, 54). Kuala Lumpur: Dewan Bahasa Notes NOT LOST IN TRANSLATION 17 Lim, K.T. & Yiu, T.C., 1991, p.119 dan Pustaka. ing the dialogue of the 18 From : i) Barnard T., 2008, p. 163; and ii) The Straits 49 Sulong, J. (1990). Kaca Permata: Memoir Seorang 1 Muhammad, A. (2010). 120 Malay Movies (pp. 120-121). Now, to increase my income, film.41 To improve this, Times, 16 March 1957, p. 1; Actors on strike today. Pengarah (pp. 22–25). Kuala Lumpur: Dewan Bahasa Petaling Jaya: Matahari Books Retrieved from NewspaperSG. dan Pustaka. Call no.: RSING 79.4309595 JAM. a friend of mine told me that, subtitles were super- 2 Ibid. and ii) Harding, J. & Sarji, A. (2002). P. Ramlee: The 19 Barnard, T., 2008, p. 163 50 Van der Heide, W. (2002). Malaysian cinema, Asian Bright Star (pp. 98-99). Subang Jaya, Selangor, Malaysia: “Now, you can do some part-time imposed onto the film 20 Muthalib , H. (2013). Cathay-Keris – A different kind of film: Border crossings and national cultures (p. 259). Pelanduk Publications. work or subtitling for the film… itself, enabling nearly Malay films in Malaysian Cinema in a Bottle (pp. 72-73). Amsterdam : Amsterdam University Press. 3 i) Muthalib, H. (2013). P.Ramlee: Birth of an enduring Petaling Jaya: Merpati Jingga. 51 Jamil, 1990, p. 35; Salma Semon. (2003, March 6). Pahit In the pictures, we had to subtitle 1,000 subtitles to be legend in Malaysian Cinema in a Bottle (p.55). Petaling 21 i) Lim, K.T. & Yiu, T.C., 1991, p.120; ii) Scream queen. manis pengelola majalah hiburan zaman 60-san. Berita in English. He said, “You go to the dubbed for each film. Jaya, Selangor, Malaysia: Merpati Jingga (Orange Dove (2005, 24 August). Today, p.32, Retrieved from Harian, p. 11; Bintang2 Filem bantu mangsa2 banjir. Sdn Bhd) and ii) Tribute to an artiste of varied talents. studio, you write down the whole The new method pre- NewspaperSG. (1967, January 20). Berita Harian, p. 2; Lukisan dalam (1983, May 31). The Straits Times, p. 4. Retrieved from script yourself, then you write in miered first in Hong 22 Barnard T., 2008, p. 167 pameran: Bantah keras. (1962, September 29). Berita NewspaperSG. 23 Ibid, pp.167-168 Harian, p. 2. Retrieved from NewspaperSG. English, you type it out, number Kong before becoming 4 Ibid and ii) No one has come close to him. (1997, 29 May). 24 From i) Lim, K.T. & Yiu T.C., 1991, p.139; ii) The Straits 52 Lim, M. S. (1982, April 14). Those huge cinema posters. 42 The Straits Times, p.11, Retrieved from NewspaperSG. it and then give it to the staff at a hit in Singapore. Times, 28 October 1967, Page 6, Film company goes The Straits Times, p. 8. Retrieved from NewspaperSG. 5 i) Millet, R. (2006). Singapore Cinema (p. 28). Singapore: the studio and they will do the Malay films of into liquidation. (1967, October 28). The Straits Times, 53 Jamil, 1990, p. 35; Farith Faruqi Sidek. (2013, June Editions Didier Millet; ii) Malay Film Of The Occupation. p.1. Retrieved from NewspaperSG; and iii) Studio Jalan 21). Kitab tawarikh. A. V. Bapat: Dari Bombay ke Kuala work for you … But the amount the 1950s and 60s, (1947, March 10). The Straits Times, p.3, Retrieved from Ampas Di-Katakan Hendak Di-Tutup.(1965, 8 May). Lumpur, sentuhan seninya merentasi zaman. Retrieved of work was so much … after I’d particularly P. Ram- NewspaperSG and iii) Mohd. Zamberi A. Malek, Aimi Jarr. Berita Harian, P. 1, Retrieved from NewspaperSG. 2015, January, from: http://harithsidek.blogspot.sg/ (2005), Post-War Malay Films in Malaysian Films: The finished my work in the evening lee films, appealed to 25 i) Lim, K.T. & Yiu, T.C., 1991, p.139; ii) Film studio cutting 2013/06/av-bapat-dari-bombay-ke-kuala-lumpur.html Beginning (p115-120). Ampang, Selangor Darul Ehsan: down staff. (1965, 30 March). The Straits Times, P.4, 54 Magiar Simen. (1967, October 27). Jins tidak terlibat at 5 o’clock, I go to the studio and Malaya’s cosmopoli- Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) Retrieved from NewspaperSG. dalam tindakan majikan. Berita Harian, p. 5. Retrieved work there until 12 o’clock…” tan society because / National Film Development Corporation Malaysia. 26 Amir Hamzah Shamsuddin. (1977). Dapatkah filem2 from NewspaperSG. 6 i)Barnard, T. P. (2008). The Shaw Brothers’ Malay (Bana Nazeem. 1981, the universal themes they portrayed cut A Chinese flyer promotingAnak Pontianak Melayu rebut kembali zaman gemilangya? Berita Harian, 55 The Straits Times, 11 Jul 1980, p. 3. films in P. Fu (Ed.)China Forever: The Shaw Brothers November 22. Pioneers of across language and cultural barriers.43 (1958). Directed by Roman Estella, produced p. 6. Retrieved from NewspaperSG. 56 The Straits Times, 11 Jul 1980, p. 3; Billboard boom and Diasporic Cinema (p. 156). Urbana and Chicago: by Malay Film Productions Ltd. Singapore/ 27 Anuar Othman. (1987, 31 July). Salim Bachik dramatis ended in 80s. (1993, February 5). , p. 22. Singapore [oral interview], reel 3, In order to cater to non-Malay-speaking University of Illinois Press; ii) Mohd. Zamberi A. Malek, Hong Kong, 1958. belum ada gantinya. Berita Harian, p. 7. Retrieved from NewspaperSG. Aimi Jarr. (2005), The Development of Malay Films in p. 3. Retrieved from the National audiences, English subtitles were provided 28 Seah, M. (2013, December 3). TV50 Special: A life of 57 The New Paper, 5 Feb 1993, p. 22. 44 Malaysian Films: The Beginning (p74–77). Ampang, Archives of Singapore) in Malay movies. The then sole translator, drama and variety. Today. Retrieved March 20, 2015from 58 The Straits Times, 11 Jul 1980, p. 3; The Straits Times, 9 Selangor Darul Ehsan: Perbadanan Kemajuan Filem http://m.todayonline.com/entertainment/television/tv50- Aug 2005, p. 94. writer Zulkifli Haji Muhammad joined Shaw bawah tayangan gambar. Menyalin huruf Nasional Malaysia (FINAS) / National Film Development special-life-drama-and-variety After World War II, Shaw and Cathay realised Brothers’ Jalan Ampas studio in 1960, even- Cina ke slides tersebut harus melalui dua Corporation Malaysia; and iii) Page 7 Advertisements 29 Coltoras. (2012, March 15). Nostalgia tahun 70an: Brorey Column 2 (Marlborough Theatre), (1934, March 24). The that including subtitles in foreign-language tually becoming assistant director, directing tahap: melukis huruf degan Chinese ink Marantika. Retrieved March 20, 2015, from http:// Straits Times, Retrieved from NewspaperSG. References films was a surefire way to attract local Malay films for Shaw.45 dan memahat huruf Cina itu di atas slide coltoras1959.blogspot.sg/2012/03/tajuk-261-nostalgia- 7 Mohd. Zamberi A. Malek, Aimi Jarr. (2005), Post-War 70an-broery.html audiences to cinemas and ensure extended kaca dengan stylus logam. Dalam 1953, Malay Films in Malaysian Films: The Beginning (p115- Fu, P. (2008). China forever: The Shaw Brothers and 30 Millet, R., pp. 71-76 120). Ampang, Selangor Darul Ehsan: Perbadanan diasporic cinema. Urbana: University of Illinois Press. movie runs. Malay fans, enamoured of Bol- cara ini telah diperbaharui kerana ianya 31 Cheah, P. (2011). Beginnings and Starting Over – Kemajuan Filem Nasional Malaysia (FINAS) / National Call no.: RSEA 791.43095125 CHI lywood films, soon formed snaking queues hanya memuatkan plot filem secara ring- Singapore Film until 2002 in Singapore Independent Film Film Development Corporation Malaysia. Harding, J., & Ahmad Sarji. (2002). P. Ramlee: The bright TERJEMAHAN BERKESAN: (p.13). Shuren, Marburg (Germany). at Taj and Garrick cinemas in Geylang in kas dan kurang memaparkan jalan cerita 8 Millet, R., p. 29 star. Selangor: Pelanduk Publications. Call no.: RSEA SARIKATA DALAM FILEM MELAYU 32 Millet, R., pp. 71-76. the 1950s and 60s,35 thanks to the Malay dan dialog filem dengan sempurna. Untuk 9 Ibid. 791.43028092 HAR. 33 Ibid . 36 10 i) Ibid; ii) Muthalib, H. (2013). Film arrives in the Lim, K.T. & Yiu, T.C. (1991). Cathay: 55 Years of Cinema. subtitles in Hindi films. In fact, a decade Selepas perang, Shaw dan Cathay melihat meningkatkan mutu terjemahan, sarikata 34 Malay Heritage Centre: A Crash Course in All Things Nusantara in Malaysian Cinema in a Bottle (p.39). Singapore: Landmark Books Call no.: RSING Malay. Retrieved from: http://www.travelfish.org/ before Hindustani megastar Dev Anand kesan positif dari penggunaan sarikata sekarang dicetak langsung ke dalam filem Petaling Jaya, Selangor, Malaysia: Merpati Jingga 791.43095957 LIM sight_profile/singapore/central_region/central_area/ kept Malays gripped to their seats with (sub-titles) yang telah merancakkan lagi dan ia dapat menghasilkan hampir 1000 (Orange Dove Sdn Bhd). Directed by B.S. Rajhans, Millet, R. (2006). Singapore Cinema. Singapore: Editions downtown_singapore/2587. Singapura Di-Waktu Malam’s plot focused on the plight Didier Millet. Call no.: RSING 791.43095957 MIL his enigmatic fighting scenes, Chinese- sambutan terhadap tayangan filem-filem sarikata bagi setiap filem. Cara baru ini 35 Kurang-nya filem2 Hindustan, filem China jadi ganti. of prostitutes in Singapore and starred Siput Sarawak, Mohd. Zamberi A. Malek, Aimi Jarr. (2005) Malaysian educated masses in Singapore who did not bahasa asing mereka. Peminat filem dari dilancarkan di Hong Kong sebelum diper- (1969, September 5). Berita Harian, p. 6. Retrieved from Bachtiar Effendy and Jaafar Wiryo. Its success prompted Films: The Beginning. Ampang, Selangor Darul Ehsan: NewspaperSG. understand English had already been drawn masyarakat Melayu yang berduyun-duyun kenalkan di Singapura. Shaw Brothers a series of films such as Chempaka National Film Development Corporation Malaysia. Call 36 Tiga kesah dlm satu gambar. (1959, January 30). Berita (Magnolia, 1947); Pisau Beracun (The Poisoned Knife, no.: 791.43095957 MOD to American and British films because the ke Taj dan Garrick di Geylang dalam 50an Filem-filem Melayu Shaw dan Cathay Harian, p. 7. Retrieved from NewspaperSG. 37 1948); Chinta (Love, 1948).; and iii) First Post-war Malay Muhammad, A. (2010). 120 Malay Movies. Petaling Jaya: screenings had included Chinese subtitles. dan 60an terkena demam Bollywood kerana terutama karya P Ramlee disambut baik 37 Ferroa, R. (1948, June 1). Putting them wise. Film Shown. (1947, November 16). The Straits Times, Matahari Books The Singapore Free Press, p. 2. Retrieved from Due to increasing demand, a pool of dapat memahami filem hindi menerusi oleh masyarakat majmuk di Malaya ker- p.3. Retrieved from NewspaperSG. Muthalib, H. (2013). Malaysian Cinema in a Bottle : a NewspaperSG. specialists and operators was employed sarikata yang disediakan dalam Bahasa ana tema universalnya yang tidak kenal 11 i) Muthalib, H., 2013, p.35 and ii) Mohd. Zamberi A. century (and a bit more) of wayang. Petaling Jaya, 38 The Singapore Free Press, 1 June 1948, p. 1; 1,000 38 Malek, Aimi Jarr. (2005), Pre-war Malay Films in Selangor: Merpati Jingga. Call No.: RSEA 791. 4309595 to translate the foreign plots and lines. Melayu. Bahkan sedekad sebelum Dev bahasa atau budaya. Filem klasik Melayu workers benefitted. (1962, May 19).The Straits Times, p. Malaysian Films: The Beginning (p.97). Ampang, HAS In 1948, it was reported that there was only Anand memukau penonton Melayu dengan dapat dinikmati oleh peminat filem dari 4. Retrieved from NewspaperSG. Selangor Darul Ehsan: Perbadanan Kemajuan Filem Sulong, J. (1990). Kaca Permata: Memoir seorang 39 The Singapore Free Press, 1 June 1948, p. 2. a handful of such specialists in Singapore aksi pertarungannya yang hebat, penonton- bangsa lain kerana disediakan sarikata Nasional Malaysia (FINAS) / National Film Development pengarah. Kuala Lumpur: Dewan Bahasa dan Pustaka. 40 Hamlet in 3,070 characters. (1948, August 25). The Corporation Malaysia; and iii) Millet, R., Call No.: RSING 79.4309595 JAM and their job was described as “one of the penonton Cina di Singapura yang tidak fasih dalam Bahasa Inggeris. Salah satu pen- Straits Times, p. 8. Retrieved from NewspaperSG p.39-45 Van der Heide, W. (2002). Malaysian cinema, Asian film : hardest and most exciting tasks in the cin- dalam bahasa Inggeris telahpun tertarik terjemahnya ialah penulis Zulkifli Haji 41 New sub-titling to help Chinese film fans. (1953, 12 Mohd. Zamberi A. Malek, Aimi Jarr. (2005) Malaysian border crossings and national cultures. Amsterdam: 39 April 19). The Straits Times, p. 3. Retrieved from ema business”. For the 1948 blockbuster untuk menonton filem-filem dari Amerika Muhammad yang mula menjalankan kerja- Films: The Beginning (p166-170). Ampang, Selangor Amsterdam University Press. Call No.: RSEA 791.43 NewspaperSG. Hamlet, Cathay employed a Hong Kong dan Britain kerana tersedianya sarikata kerja sarikata di studio Jalan Ampas pada Darul Ehsan: National Film Development Corporation VAN 42 The Straits Times, 19 April 1953, p. 3; Filem ini penoh Malaysia. graduate, Lau Shing-yuen, to translate dalam bahasa Cina. Sekumpulan pakar 1960 sebelum dilantik sebagai Penolong degan lagu2 yang tetap menghibor. (1961, March 11). 13 i) Barnard, T.P.,2008, p. 158; ii) Harding, J. & Sarji, A., Berita Harian, p. 7. Retrieved from NewspaperSG. and prepare slides for its Chinese film dan operator penterjemah telah digajikan Pengarah. Mrs Wee, seorang lagi mantan 2002, pp.14-15 and iii) Screen legend lives on. (1988, 40 43 Lim, K. C. (1989). Golden movies of P Ramlee. The New subtitles that were projected onto a small untuk menyiapkan sarikata filem. Pada pekerja Jalan Ampas dan teman kepada 9 December). The Straits Times, p. 4, Retrieved from Paper, p. 12. Retrieved from NewspaperSG. NewspaperSG. screen beneath the main screen. Getting 1948, dilaporkan hanya segelintir sahaja bintang legenda P Ramlee, banyak mem- 44 Halaman 8 iklan ruangan 1. (1964, July 5). Berita Harian, 14 i) Lim, K.T. & Yiu, T.C. (1991). Cathay: 55 Years of the Chinese characters printed on the menjadi tenaga pakar ini dan mereka di- eras tenaga untuk menyediakan sarikata p. 8; Halaman 10 iklan ruangan 1. (1964, April 22). Berita Cinema (p.119). Singapore: Landmark Books; ii) Take Harian, p. 10. Retrieved from NewspaperSG. glass slides was a two-step process; first, katakan memikul tugas yang paling sukar untuk filem Melayu Shaw. Empat puluh one ... reference book on Malay movie history. (1997, 45 Bahyah Mahmud. (1965, October 16). Suami Sarimah 14 August). The Straits Times, p. 12, Retrieved from painting the Chinese words in ink over the dan teruja dalam industri perfileman. Untuk tahun setelah studio Shaw ditutup pada akan menarek diri dari dunia perfileman. Berita Harian, NewspaperSG. little glass slides followed by scratching the filem blockbuster Hamlet yang ditayang- 1967, beliau mengunjungi Jalan Ampas dan p. 7. Retrieved from NewspaperSG. 15 Ibid , p.119 46 Anwardi Jamil. (2007, November 9). Anak Wayang. Chinese characters onto the glass surface kan dalam 1948, Cathay telah melantik bangunan-bangunan renta di kawasan itu 16 Mohd. Zamberi A. Malek, Aimi Jarr, p.154. Directed People I remember in MFP. Retrieved 2015, January, with a metal stylus. seorang siswazah dari Hong Kong, Lau mengingatkan beliau kembali kepada hari- by B.S. Rajhans, Buloh Perindu gave Shaw Brothers from: http://sayaanakwayang.blogspot.sg/2007/11/ their first taste of real competition. The big budget film In 1953, a new form of subtitling was Shing-yuen, untuk menterjemah dan me- hari yang banyak beliau habiskan di salah people-i-remember-in-mfp.html was produced in Geva Colour and shot on location in introduced. The previous method outlining nyiapkan slides dalam bahasa Cina, yang satu Studio Shaw untuk menyunting dan 47 The odd job. (2005, August 9). The Straits Times, p. 94. Chuping, Perlis and showcased a line-up of film-stars Retrieved from NewspaperSG. the plot was not an accurate way of captur- kemudian dipancarkan ke skrin kecil di mencetak sarikata ke dalam filem. such as Salleh Ghani, Shariff Medan, M. Amin, Raden

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entirely shot on location in Singapore and Johor (including a delightful chase through kitschy Haw Par Villa in Pasir Panjang). This was followed by another Italian spy-flick,Goldsnake: Anonima Killers (1967), drastically less stylish and amusing than So Darling So Deadly, although it affords rare glimpses of a 1960s Orchard Road, among SPIES, VIRGINS, other locations in Singapore. Arguably the best of these films isFive Ashore in Singa- pore (1967), a French guys-on-a-secret- mission picture starring Sean Flynn and Dennis Berry, the offspring of Hollywood greats Errol Flynn and John Berry, respec- tively. The street scenes capture Singapore PIMPS AND HITMEN in the midst of celebrating its first National Day (the film was shot around August 1966), and in photographing the texture of street Singapore Through the Western Lens life, the camera crew seem to be far more Western filmmakers have always had a fascination for curious about filming the scenery of Singa- Caucasian expatriates (an English police- pore than the violent gang of “heroes” who man and an Armenian beauty queen) and Singapore. Ben Slater tells you why. stomp, kick and shoot their way around the was scandalous for its prurient depiction island with brutal indifference to their sur- of harmless tribesfolk as semi-naked roundings. But the worst was yet to come. cannibals. Whereas Buck’s films were In late 1969, a Hong Kong-based quasi-documentaries, Wing was the first American photographer and newsreel Western filmmaker to shoot a narrative cameraman, Marvin Farkas, raised just film in Singapore – albeit one that he took enough money to make a spy thriller in much artistic licence with. Inevitably, Wing’s Singapore. The premise for the film came impulse was to exoticise and misrepresent from two Singapore-based war correspond- While Singapore’s own film industry has Singapore. Still, 80 years later, we can view ents, Keith Lorenz and Ian Ward, who had thrived and collapsed and then risen again, Samarang as a sublime documentary – the aspirations to write a movie that captured the history of foreign film production, par- faces and behaviour of the extras, as well an explosive moment in Southeast Asia ticularly that of filmmakers from Europe as the now forgotten landscapes indelibly (Vietnam and Indonesia were blowing up – and America making movies in and about captured on celluloid before they disap- literally; President Suharto had just come wthe island is a long and fascinating one. This peared (see also page 10). into power in Indonesia, and Vietnam was history is a reflection of the way Singapore In travelling to Asia as filmmakers, Wing in the thick of a bloody war between the has transformed over the last 50 years as and Buck were pioneers. During this period, north and south). After some false starts, well as changing perceptions of Singapore and well into the post-war era, “tropical the inexperienced Farkas hired New Yorker in the West. Singapore”, as Hollywood depicted it, was Joel Reed to rewrite and helm his picture. conjured up with stock footage and studio Due to desperation, a fast-depleting budget The First Films recreations of dark alleys, sleazy bars and and sheer expediency, the film, entitled Wit’s jungle roads. (Many of these early Hollywood End, became a laughable excuse for brawls, In the early 1930s, Frank Buck – the self- films purportedly set in Singapore never car chases, terrible acting, gratuitous nudity promoting Texan showman and exotic animal came within sniffing distance of the island.) and overblown homophobia. After more or “collector” – pitched up in Singapore with This fabricated Singapore was the less disappearing upon completion, it was a small film crew to shoot a version of his perfect setting for Hollywood melodramas The Spying Sixties James Bond genre. After all, international (nonsensically) retitled G.I. Executioner in bestselling memoir Bring ‘Em Back Alive and thrillers concerning desperate souls travel was as essential to the genre as the 1980s. Incredibly, the film had the sup- (1932), re-enacting scenes of tigers and set adrift in inhospitable foreign climes. From the 1960s, as Singapore gained inde- gadgets, beautiful women and submachine port of Singapore’s Cathay-Keris Films and elephants being captured in their natural The lovers in Alfred Hitchcock’s Rich And pendence and modernised rapidly, foreign guns. While Bangkok, Hong Kong and Tokyo the Ministry of Culture, an indicator of how Ben Slater is the author of Kinda Hot: The habitat. It was a huge success and spawned Strange (1931), for instance, wind up in film crews became commonplace, their ar- were visited by 007 himself, a motley crew keen Singapore was to court foreign films. Making of Saint Jack in Singapore (Marshall several sequels. Singapore, as depicted by Singapore briefly, as do the heroes and rival coinciding with the decline of the local of European filmmakers descended at then Cavendish: 2006), a contributing writer to Buck, contrasted the untamed wilderness of femme fatales of Night Cargo (1936), The film industry. Low-budget filmmaking was Airport to shoot their versions (Facing page) Singapore (1947) is a romance set in World Film Locations: Singapore (Intellect: the jungle with the colonial sophistication of Letter (1930), adapted from a famous story flourishing in the US and Europe, successful of the Bond film. Singapore but shot in a Hollywood studio. 2014) and the editor of 25: Histories & the Raffles Hotel. The result was a compel- by Somerset Maugham, The Blonde from genres were quickly copied and exploited, The hero of So Darling So Deadly © Singapore. Directed by John Brahm, produced by Jeremy Bresler, distributed by Universal Studios. Memories of the Singapore International ling myth of tropical Asia that was eagerly Singapore (1941) and Singapore (1947), a and the “production value” provided by (1966) is Agent Joe Walker (also known as Film Festival (SGIFF: 2014). He is also the United States, 1947. co- of the feature film Camera consumed by American film audiences. loose remake of Casablanca that features shooting in exotic foreign places more than the Kommissar X), an American spy-cum- (Above left) The Blonde from Singapore (1941) is an adventure romance filmed in Hollywood. (2014) and a lecturer at the School of Art, At around the same time, Ward Wing, Ava Gardner speaking Malay! This cycle of made up for the price of long-distance air detective film based on a series of German a bit-part American actor turned director, “Singapore noir” films reached its apothe- tickets (which were quite affordable at the pulp fiction in this mostly Italian production © The Blonde from Singapore. Directed by Eward Media and Design at the Nanyang Technology Dmytryk, produced by Jack Fier, distributed by University (NTU). His 10-film season of arrived in Singapore to make Samarang osis with Robert Aldrich’s explosive and time) and the effort of hauling over equip- starring American B-lister Tony Kendall and Columbia Pictures. United States, 1941. foreign films made in Singapore, “Beyond (variously known as Semarang, Out of the bleak World For Ransom (1954), made ment and people. body-builder-turned-actor Brad Harris as (Above right) So Darling So Deadly (1966) is an Saint Jack”, is currently underway at the NUS Sea and Shark Woman). Touted as a “jungle using leftover sets (and actors) from the A number of European B-movies were his sidekick. The plot is ludicrous guff about American spy movie that was filmed on location in Singapore. © So Darling So Deadly. Directed by Museum. See http://malayablackandwhite. adventure” for American audiences and low-budget TV adventure series entitled shot partially in Singapore in the 1960s, atomic secrets (echoed in all of these spy wordpress.com for details. Gianfranco Parolini, produced by Hans Pflügler. shot on a shoestring budget, it starred two China Smith, also set in our ersatz Lion City. mostly “super-spy” films – knock-offs of the films), but it is beautifully filmed and almost United States, 1966.

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The “Hollywood” Years and local Communists guerrillas between commissioned the film, pulled the plug on for nearly 30 years, and almost certainly the mid-1990s. Despite being thoroughly 1948 and 1960). Young soldier Brigg (Hywel the film. It was a financial disaster and an made the powers-that-be cautious about dull, and only partly shot on location (the In fact, Hollywood did come calling in the late Bennett) loses his virginity to and falls for embarrassment for MGM and Singapore, granting permission to foreign films crews. exchange floor was recreated in a London 1960s, initially via two British (but American Chinatown girl “Juicy” Lucy (Tsai Chin), but and although in no way the latter’s fault (the studio), Rogue Trader is significant in that studio-backed) productions, both adapted the tedium of Singapore eventually erupts film was just too expensive for the studio), Transformative Times it contains no trace of the usual Orientalist from literary sources. Pretty Polly (1967) into violence, bringing their dalliance to it appeared to cool Hollywood's interest in clichés that Western filmmakers are wont was a big-budget romantic drama adapted an end. Both Pretty Polly and The Virgin the Lion City and vice versa. A number of During the 1980s, Singapore's popularity as to portray about the island city. The film from an acidic Noel Coward short story set Soldiers deal with the aftermath of the other studio productions slated to be filmed a film location declined. The old cinematic depicts the modern, cosmopolitan Singapore in Singapore. Its shoot around town caused colonial era, the sun setting on the British in Singapore, including an adaptation of city, with steamy jungles, crumbling man- of condominiums, bars (along Boat Quay), enormous excitement due to the presence of Empire, and the growing tension between James Clavell's Tai Pan, starring Patrick sions, derelict shophouses and bustling cafes and restaurants, where the British teen megastar Hayley Mills in the title role, locals and their former colonial masters- McGoohan, were similarly cancelled. streetlife, was now dominated by brand new protagonists mingle with their Singaporean alongside Bollywood king Sashi Kapoor as turned-interlopers. In 1978 it looked as if things would skyscrapers, high-rise housing blocks and friends (and not just other expats). a Singapore tour guide Amaz, who doubles The local press gave wide coverage change. Singapore was all abuzz over the cleaned-up streets. In achieving Western- More recently, London-based Irish up as a gigolo. Although the film was a to these films and reported how Singapore arrival of the stars and production crew of style modernity, Singapore had lost some directors Joe Lawlor and Christine Molloy huge flop and has never been released in benefited from the presence of these pro- Hawaii 5-O, one of the biggest TV shows in of the charms and exotica that originally made the feature Mister John (2013) in Singapore, it remains a fascinating depic- ductions. Tom Hodge, general manager of the world, to shoot two episodes in town. drew Western film companies to its shores. Singapore. The film takes a fresh look at tion of the island as a hedonistic playground Cathay-Keris (which provided production Simultaneously, journalists reported that There were sporadic TV productions, the archetypal tale of the Western visitor for swinging grown-ups (there is a long support to these films), was frequently Hollywood wunderkind director Peter Bog- mainly from Australia (World War II mini- in the tropics. Gerry (Aidan Gillen) arrives sequence filmed in the Bugis Street of quoted as being optimistic about Singapore’s danovich was also in town scouting locations series Tenko and Tanamera – Lion of in Singapore to attend his brother’s funeral yesteryear), and where Mills experiences future as an Asian outpost for Hollywood. for a film calledJack of Hearts. In actual Singapore were partially shot on location) while escaping from a troubled marriage sexual and romantic liberation. But this bubble was about to burst. fact Bogdanovich was already in the process as well as the American TV movie Passion back home. He becomes attracted to his The other Hollywood production from The next American film due to be shot of surreptitiously shooting what would turn Flower (1986) starring Bruce Boxleitner and sibling’s Singaporean widow (played by Zoe this time also tells the tale of a young visitor in Singapore was meant to be the biggest yet. out to be the infamous Saint Jack. The Barbara Hershey. Passion Flower is a glossy Tay in a rare English film appearance), while gaining a worldly education from a “native”. Oscar-winning film director Frederick Zinne- subsequent story of how, according to the contrast between sensual, incense-infused moving through a nocturnal world of girlie The Virgin Soldiers (1969) is a faithful mann had planned to adapt André Malraux’s press, Bogdanovich had “cheated” Singapore Chinatown and the cold, high-tech towers bars, cheap hotels and karaoke lounges. On adaptation of Leslie Thomas' poignant auto- novel Man’s Fate with Singapore standing in Saint Jack was a controversial movie filmed on location in order to make his less-than-flattering of Shenton Way and sets the scene for a one hand Singapore is presented as erotic biographical novel about his experiences for Shanghai. Millions of dollars were spent in Singapore and banned for nearly 30 years. © Saint portrayal of the republic, overshadowed world of sexual and financial deceit played and mysterious (with hints of the super- as a bored recruit stationed in Singapore on pre-production, locations were selected, Jack. Directed by Peter Bogdanovich, produced by the merits of the film (see text box). Saint out between two expatriates in Singapore. natural and some lush jungle locations), during the post-war Malayan Emergency local actors cast and crew hired, but at the Hugh M. Hefner and Edward L. Rissien, distributed by Jack (1978) would be banned in Singapore Amusingly, Raffles Hotel is recast as the but at the same time, it is also an ordinary New World Pictures. United States, 1978. (the armed conflict between the British last minute, in 1969, MGM, the studio that lavish office of a place where people (both foreigners and cruel billionaire and Singaporeans) work through their struggles. a few “locals” with SAINT JACK: A NEW TAKE ON SINGAPORE speaking parts are Hollywood’s Return depicted as mere pawns in the high- In 2014, two high-profile films were shot Adapted from the novel by Paul Theroux stakes game. partially in Singapore and are due for release (who taught English Literature at the For the next in 2015: Hitman: Agent 47, a second attempt University of Singapore from 1968 to few years, there to adapt the action videogame franchise 1971), Saint Jack featured another white would be no major to film, features Singapore as a backdrop man cutting loose in the Lion City. But foreign film produc- to some kinetic mayhem, while Equals, a Jack Flowers, a ships chandler and pimp, tions set in Singa- sci-fi thriller starring Nicholas Hoult and portrayed by Ben Gazzara in the film, pore until James Kristen Stewart, was shot on location in represented a more nuanced protago- Dearden’s Rogue both Singapore and Japan. As the Agent nist. Flowers is an “old hand” who slips Trader (1999). Ewan 47 trailer and poster make abundantly with ease between the expatriate circle McGregor starred clear, Singapore is now sought after for its and the local world, with Singaporeans as Nick Leeson, ultra-futuristic cityscapes. Interestingly, the who become his friends, colleagues and the real-life bro- famously prolific producer Roger Corman, lovers (and who have substantial roles in ker who brought who visited the Saint Jack set in 1978, had the film – another first). The film ­– shot about the collapse casually mentioned to one of the local crew entirely in Singapore between May and of Barings bank that Singapore would be a perfect place to June 1978 – was banned because of its on the Singapore make a science fiction film. It seems, over “negative portrayal” of the island, but in Stock Exchange in 30 years later, that he was right. fact has a deeper interest and under- standing of Singapore than any previous foreign production. Flowers may bitterly The soon-to-be- References released Hitman: complain about Singapore in the film, Agent 47 was partly Millet, R. (2005). Singapore Cinema. Singapore: Editions and memorably tells a drunken, ironic has repeatedly regretted that the film Ben Gazzara (Jack Flowers) getting a tattoo filmed on location in Didier Millet Pte Ltd. Call no.: RSING 791.43095957 MIL version of the legend of how Sang Nila is not better known. His experience in while co-star Denholm Eliot looks on in the Singapore. © Hitman: Slater, B. (2006). Kinda Hot: The making of Saint Jack in Agent 47. Directed by Utama named the island Singapore, but Singapore was “life-changing”, and his filmSaint Jack. © Saint Jack. Directed by Peter Singapore. Singapore: Marshall Cavendish Editions. Call Bogdanovich, produced by Hugh M. Hefner and Alek Sander Bach, no.: 791.430232 SLA he is also clearly very fond of his adopted most recent film, She’s Funny That Way Edward L. Rissien, distributed by New World produced by Adrian Toh, H.P. (2015). The Hunter: Location scouting in home. Bogdanovich counts Saint Jack (2015), about a man who falls in love with Pictures. United States, 1978. Askarieh, Alex Young Singapore’s filmic history. Retrieved from https:// and Charles Gordon, sgfilmhunter.wordpress.com as one of his favourites among the many a prostitute, is a clear reworking of ideas distributed by 20th great films he made, and over the years he developed for Saint Jack. Uhde-Ng, Y. & Uhde, J. (2009) Latent Images: Film in Century Fox. United Singapore. Singapore: NUS Press. Call No.: RSING States and Germany, 384.8095957 UHD. 2015. 22 23 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature

The Rise of Auteur Cinema industry. The feat is all the more amazing when one considers the fact that Mee Pok The first glimmer of hope for the revival Man was able to blaze a trail of its own, Is 2015 going to be a watershed year for of local cinema appeared that same year with none of the baggage connected with Singaporean cinema? Two highly symbolic when Eric Khoo’s August bagged the award the golden age of Singaporean cinema as events have paved the way for it, and, when for Best Singapore Short Film at the newly embodied by the Shaw and Cathay studios taken together, encapsulate the larger picture inaugurated awards. Encouraged by the of yesteryear. Endowed with all the traits of Singaporean film history, from its origins award, Khoo successively directed a few of an indie production, the film is clearly at the turn of the 20th century until today. more short films:Carcass (1992), which the work of an auteur. i Firstly, , co-founder in draws parallels between the life of a busi- was the first Singa- 1926 of the oldest Singaporean film empire, nessman and that of a butcher, and was the porean feature film to be entered for the passed away in March 2014. His death – at first local film to be given an R(A) rating; SIFF’s Silver Screen Awards, and it was age 106 – brought to full closure the first and Pain (1994), which recounts the story subsequently invited to over 30 interna- great cycle of Singaporean film history of a sado-masochistic young man, and tional film festivals, including the Berlin (largely predating the country’s Independ- won Khoo the Best Director and Special and Venice festivals. The film effectively ence), and marks the passing of a bygone Achievement Awards at the 1994 edition placed Singapore back on the map of era of which he had been the last survivor. of the festival. Unfortunately, Pain was world cinema. Secondly, 2014 saw the return – after three years of inactivity – of the Singapore International Film Festival (SIFF) which, since its inception in 1987, has paved the way for what has been the gradual revival of a local film industry leading to its second historical cycle (coinciding with post-Independent Singapore). The hiatus of the festival between 2011 and 2013 was ominous, as there cannot be a serious film industry without a credible and established film festival. Fortunately, the SIFF, as it was known during its first 24 editions, is now back on track with a new acronym, SGIFF; its 25th outing in 2014 included a line-up of no less than 10 made-in-Singapore feature- length films. This is rather impressive, compared with the first few editions of the festival from 1987 to 1994 when there was very little local content to show as film- making in Singapore had ground to a halt. The origins of the SIFF date back to The Revival of 1987. In the absence of active filmmakers and producers, a small group of film buffs banned from public viewing in Singapore Two years later, Khoo directed his led by Geoffrey Malone (an Australian who because of its graphically violent scenes. second feature film, , a social had settled in Singapore in the early 1980s), These films marked the beginning of the drama in the vein of Mee Pok Man but with the help of two Singaporeans, Philip great revival of Singaporean cinema. with a more intricate structure, unveiling Cheah (who handled programming) and It was only in 1995 that another major the lives of four different families living in Teo Swee Leng (who took charge of admin- step was made, led again by Khoo, then the same 12-storey block of flats (hence istration) laid the foundations of the SIFF 30-years-old, with the premiere of his first the title). Cleverly cross-cutting between SingaporeanRaphaël Cinema Millet is a film director, producer and critic with a passion for cinema the world in 1987. The festival opened a new window feature film, the seminalMee Pok Man. the intertwined lives of the occupants, over. He divides his time between France for the expression and appreciation of the Symbolically, the release of the film coin- the film sheds a bleak light into the dark and Singapore, and has published two books art of film, and effectively put in place part cided with Singapore’s 30th anniversary of corners of a depressive and eventually about Singaporean cinema, one in French of the ecosystem needed for future film Independence. Khoo was to be a director of destructive Singaporean society – not in 2004, the other in, in English, 2006. simply titled directors to emerge. many firsts. If, when looking back, a movie inured from unresolved anxieties despite Singapore Cinema In its first few years, the SIFF saw itself were to be recognised as truly marking the having been carefully socially engineered 1995–2014 as a bridge between generations, paying revival of Singaporean cinema – the onset by the authorities. Singapore’s film industry gets a reboot as homage to the long-gone filmmakers of of the second historical cycle following that the golden age and celebrating Singapore’s long coma – it would certainly be this movie. (Facing page) Film still from Eric Khoo's it enters a new phase of its development. film heritage. In doing so, the SIFF helped to Locally produced, directed and acted, Mee Mee Pok Man, which starred Michelle Goh and nurture new talent in the film industry. An Pok Man set in many respects the tone Joe Ng. © Mee Pok Man. Directed by Eric Khoo, Raphaël Millet explains how this produced by Jacqueline Khoo, distributed by important step was taken in that direction for a number of Singaporean productions Zhao Wei Films. Singapore 1995. Courtesy of resurgence came about. when the festival introduced its very first that would follow in the next two decades. Zhao Wei Films. Silver Screen Awards in 1991. Open to both The film is pioneering because of its bleak (Above) Lum May Yee (left) and Koh Boon Pin (right) in 12 Storeys. © 12 Storeys. Directed by Singapore and regional works of film, the social drama theme infused with angst- Eric Khoo, produced by Brian Hong, distributed awards spurred emerging local directors filled melancholy, but more importantly, it by Pictures. Singapore 1997. to showcase their productions. single-handedly revived the Singapore film Courtesy of Zhao Wei Films.

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This skillfully crafted movie spoke volumes 84th Academy Awards, it did not make it to about other unspoken sides of Singapore the final shortlist of nominated movies. (such as lesbianism), and was produced In spite of these minor setbacks, right in time for the 40th anniversary of the Khoo’s contribution to the revival of Singa- country’s Independence. porean cinema is not diminished. He set the launched the second direction and the standards for an auteur decade of the revival of Singaporean cin- cinema where an independent director's ema, spanning the period 2005 to 2014. By personal creative vision is paramount, free this time Singaporean cinema was alive from the stresses of commercial goals or and kicking, and Khoo proved that he was worries. With his “film for the sake of film” still a talent to be reckoned with. Be With attitude, Khoo inspired numerous directors Me premiered at the Directors’ Fortnight who emerged at the turn of the 1990s and section in the 2005 , 2000s, such as Glen Goei, Djinn Ong, Kelvin another first for Singapore. In the years that Tong and Royston Tan, among others. followed, Khoo remained a major proponent Djinn Ong’s career, although very of Singapore arthouse cinema, with two promising, was largely short-lived, with new opuses in which he managed to renew only two feature films to his directorial and refresh his approach to film: credit. Return to Pontianak (2001) was (2008) and Tatsumi (2011). Singapore’s first attempt at revisiting the With My Magic (2008), Khoo unexpect- horror film genre left fallow since the early edly focused on the Tamil minority, shooting 1970s (some of Ong’s peers, like Kelvin in Tamil, with a largely Tamil cast. It tells Tong, would explore this genre a few years the heartbreaking story of a young boy and later). Ong’s second film, Perth (2004) tells his father, a former magician. In spite of the story of Harry Lee, a security supervisor its limited acting range, largely due to the at a shipyard who, after losing his job due fact that the lead character was played to brutal downsizing, is forced to become a by a non-professional actor, and the film driver in order to make a living, with hopes appeared “rushed and improvised on all of one day retiring in Australia. With his “film for the sake of film” attitude, technical fronts” as some international Unfortunately, Ong discontinued his media rightfully remarked, it was nominated filmmaking work partly due to personal Eric Khoo inspired numerous directors who emerged for the Palme d’Or at the 2008 Cannes Film reasons and did not have a chance to take Festival – once again a first for a Singaporean part in the second decade of the Singaporean film. But in the end,My Magic did not win, cinema revival from 2005 to 2014 – a pity, at the turn of the 1990s and 2000s, such as Djinn Ong, perhaps precisely because of its acting and as Perth had a grittiness rarely seen until technical shortcomings, as well as for its then in Singapore films, and still stands out Kelvin Tong and Royston Tan, among others. overly sentimental plot. precisely for this. In 2011, Khoo released what might be Royston Tan and Kelvin Tong opted for seen as a far more daring and refreshing more hybrid careers, oscillating between film,Tatsumi , an animated film inspired by the desire of being perceived as ambitious the works of renowned Japanese manga arthouse auteurs and the temptation of artist Yoshihiro Tatsumi. Set in Japan with trying their hand – although not always full Japanese dialogue, Khoo dramatically with great success – at commercial cin- (Top) Eric Khoo (centre) during the production of Be With Me. Courtesy of Zhao Wei Films. departed from what has been hitherto ema, the other avenue increasingly open to (Above) Film still of Eric Khoo's Tatsumi, a film inspired by the works of manga artist, Yoshihiro perceived as a “Singaporean movie”, thus local filmmakers. Tatsumi. © Tatsumi. Directed by Eric Khoo, produced by Tan Fong Cheng, Gary Goh, Phil Mitchell, Freddie Yeo, Eric Khoo and Brian Gothong Tan, distributed by Golden Village Pictures and Happiness. raising many interesting issues in terms of Royston Tan, for instance, has moved Singapore, 2011. Courtesy of Zhao Wei Films. what contributes to the identity of a national from the controversial 15 (2003) to the cinema. With Tatsumi – which featured bleak Eric Khoo-inspired 4:30 (2005), before Always on the lookout for new talent, best cinematic performance yet. With 12 Sto- exquisitely executed animation and was delving into the blatantly commercial and Eric Khoo offered Jack Neo his debut as reys, Khoo asserted even further the role to lauded by critics the world over for its artistically kitsch 881 (2007). While 15 a full-fledged cinema actor in 12 Storeys, be played by auteur cinema in representing, beautiful graphics and excellent music was heavily censored due to its graphic something that was to have long term conse- both locally and internationally, the identity score – Khoo proved that good cinema portrayal of teenage gangsterism (the film quences on the development of Singaporean of modern Singapore. Indeed, 12 Storeys was went beyond geographical borders and had to undergo numerous cuts before it cinema (although in a different direction not only the second Singapore-made movie that Singaporean filmmakers did not have was eventually released) 881 was a boister- from what Khoo had undertaken). While to be entered for the SIFF’s Silver Screen to confine themselves to filming stories set ous musical comedy – interspersed with Neo had already become famous on local Awards, but also the first Singapore film to in HDB flats or shopping malls. occasional dramatic moments – and went TV for his comedic skills, 12 Storeys not be screened at the Cannes Film Festival as Tatsumi deservedly gained international on to become a box-office hit. In doing so, only revealed his ability to be a big screen part of its Un Certain Regard programme. recognition when it premiered in the Un Tan has gone from one extreme end of the actor, but also showcased his ease for social During the next few years, Khoo kept Certain Regard section at the 2011 Cannes spectrum to the other, blurring the lines of drama. The film also showed Neo’s ability to himself busy producing other people’s films, Film Festival. Yet, as with Khoo’s previous his directional style in the process. The only underplay a role (something quite rare for such as those of his then protégé Royston Cannes’ nominations, it did not win, and this constant has been his predilection for movie (Top) Lim Kay Tong in Perth: The Geylang Massacre. © Perth: The Geylang Massacre. Directed by Djinn him, and quite the opposite of what he would Tan, and only returned to direct another once again tempered his achievements. A titles with numbers. His last feature film, Ong, distributed by Tartan Films. Singapore, 2004. generally do afterwards). Neo’s exceptionally movie eight years later. The long-awaited further setback was in store: although the 12 Lotus (2008) is his most mature work (Above) Royston Tan's 881 explores the colourful world of getai. © 881. Directed by Royston Tan, nuanced and intimate portrayal of Ah Gu’s Be With Me (2005) adopted the same artistic film was selected as the Singaporean entry so far, finding the right balance between produced by Gary Goh, James Toh, Chan Pui Yin, Freddie Yeo, Tan Fong Cheng and Ang Hwee Sim, distributed by Golden Village Pictures. Singapore, 2007. character in the movie certainly remains his and thematic approach seen in 12 Storeys. for the Best Foreign Language Film at the a good drama and a fun, easy-going film.

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The Rise of Commercial Cinema New Performer Award at the 40th Golden Horse Film Festival, clinching the first ever At the exact opposite end of Eric Khoo on Golden Horse Award for Singapore. With the spectrum of Singaporean film genres this win, Neo had proven that Eric Khoo was stands Jack Neo. He is the other notable not the only one to be counted on when it film director in the last two decades with a came to “firsts” in terms of international body of work even superior in quantity – but recognition. This was a major success for perhaps not in quality, although a compari- Singapore’s revived cinema industry. son might not be really valid here – to the Curiously, following Homerun’s suc- work of Khoo. cess, Neo went back to his previous low Jack Neo started off as a multital- production value films, withThe Best Bet ented TV entertainer, and then went on to (2005), I Do I Do (2006) and Just Follow act in film (debuting in Khoo’s12 Storeys) Law (2007), generally churning them out before becoming a prolific director, often in time for release at . acting in his own movies. All along Neo But Neo soon entered the second decade remained active in television and success- of the Singaporean film revival with a new fully retained a large popular base, which strategy that proved rather fruitful: he in turn benefited his ventures into film – at started making sequels to his previous least commercially, if not always artistically. successes, while at the same time creat- Indeed, Neo quickly became the most profit- ing new movies conceived as franchises to able (“bankable”, some would say) director reap greater economies of scale. A film still from . © Ah Boys to Men. Directed by Jack Neo, produced by Jack Neo, in the Singaporean movie industry, almost Lim Teck and Leonard Lao, distributed by Golden Village Pictures & Clover Films. Singapore, 2012. The first sequel was Too continuously dominating the local box office Courtesy of J Team Productions. in 2006, revisiting more or less the same for close to 20 consecutive years with his story four years after the first film. Fol- highly popular comedies. in both Liang Po Po – The Movie (which, again breadth of the perceived out-of-boundary lowing the same vein, Neo also directed Neo’s first venture into this genre was he wrote but did not direct) and That One markers in Singapore society. If you can be 2, exactly a decade the 1998 Money No Enough, which he did No Enough (which, finally, he directed). In sure about one thing about Neo, it is that after the original, once again poking fun not direct himself but instead wrote and both films, Neo poked fun at Singaporeans’ he knows his OB markers. This is one of at his fellow Singaporeans still engaged in played the lead of a middle-class Chinese idiosyncrasies. Once again, Singaporeans the primary reasons for his commercial an endless pursuit of money. The sequel Singaporean who does not speak fluent loved it, and both movies were box-office success at filmmaking. recipe proved lucrative, with I Not Stupid English nor have high educational qualifica- hits, even though they did not break Money Yet, Jack Neo’s main shortcomings Too beating its predecessor at the box tions and who faces difficulties at work. With No Enough’s record. as a filmmaker are to be found in the all office, andMoney No Enough 2 coming Mark Lee playing the role of a contractor With That One No Enough, Neo too often poor production value of his very close to the record gains of his 1998 in debt to loan sharks and Henry Thia as a embarked on a directing career that movies. Indeed, many are no more than Money No Enough. coffeeshop waiter obsessed with girls, Neo turned him into Singapore’s most prolific telemovies projected onto the big screen, In 2012, Neo finally surpassed him- managed to intertwine personal stories of filmmaker, directing a total of 18 feature sometimes unconvincingly (if not badly) self with Ah Boys to Men, earning more men caught in everyday troubles, but in a films within 16 years (from 1998 to 2014). acted, sometimes technically lame, as in than S$6 million domestically, something far less subtle (but far more hilarious) way Some critics found him a bit too prolific to the case of I Do I Do, , and absolutely unheard of until then. A year than Khoo’s nuanced and multilayered mel- be consistently good all the time, and it is Lion Men. This is most regrettable as Neo later, in 2013, this record was beaten by Ah ancholic style. The Singaporean audience true that some of his comedies were not is talented and can do much better when Boys to Men 2, which made S$7 million at loved it, and the film was such a runaway as commercially successful – sometimes he sets his mind to it, something he has the local box-office. TheAh Boys to Men success that it became the top-grossing because they were just not as funny as his proven with I Not Stupid (2002), and even franchise, perhaps the first of its sort in movie ever in the country, a title it kept for previous efforts. The truth is that making more so with Homerun (2003). the history of Singaporean cinema, dealt about 13 years. Money No Enough shot Jack people laugh is far more difficult than mak- Although Homerun re-casted some of with the misadventures of a group of young Neo to immediate cinema stardom and gave ing people cry – be it when writing a book, the children who acted in I Not Stupid, the army recruits doing their National Service, the Singapore film industry a gigantic – and staging a play or directing a movie. So far, film departed from Neo’s usual style and something which has always been a source much needed – boost. despite his highs and lows, Neo has done displayed, for the first time, true artistic of great bonding and joshing around among The hapless misadventures of the a pretty good job at making Singaporeans ambition on his part as a director. A remake Singaporean men. That same theme had comic trio in Money No Enough became one laugh at themselves, something much of Iranian Majid Majidi’s critically acclaimed already been brought to screen in the form of Neo’s trademarks, soon recycled in 1999 needed for the morale and psychological arthouse movie Children of Heaven (1997), of a comedy as early as 1996 with Ong Ken sanity of a nation not often known for its Homerun – transplanted into the Singapore Sen’s Army Daze. The film had been a rela- self-deprecating humour. landscape – explored new territory by tive success then, but nothing compared (Top) Mark Lee (left) and Jack Neo (right) in 1998's Money No Enough. Directed by Tay Yeck Lock, Neo has humorously addressed major being the first large-scale period movie to to Neo’s box-office tsunami. produced by JSP Films, distributed by Shaw local issues such as the irresistible drive be made locally. But instead of re-staging Looking back at Jack Neo’s accom- Organisation. Singapore, 1998. Courtesy of J Team for money (That One No Enough), its fas- the major political and social events that plishments over the last 15 years or so, it Productions. (Middle) I Not Stupid starred (left) and cination with gambling (The Best Bet), the shook Singapore in 1965, it placed them in would appear that he has almost single- (right) in 2002. Directed by Jack Neo, pressure-cooker education system (I Not the background of a main plot that focused handedly created locally made commercial produced by Raintree Productions, Stupid), national service as a rite of passage on a brother and sister from a poor family. films that can make a windfall. But the truth distributed by United International Pictures, Singapore, 2002. Courtesy of J Team Productions. (Ah Boys to Men), and others. As a matter Well crafted (with carefully selected loca- is that Neo, alone, has almost entirely occu- (Right) Shawn Lee (left) and Megan Zhang (right) in of fact, Neo’s strength lies in having his tions in neighbouring Malaysia giving the pied that space. Many have tried to copy Neo Homerun, a re-make of Majid Majidi's Children of finger right on Singapore’s pulse, knowing movie an air of authenticity), it was most of in the hope of replicating his success, but Heaven. Directed by Jack Neo, produced by Chan what his fellow Singaporeans are currently all superbly acted by some very promising this has generally been in vain. Jack Neo’s Pui Yin and Titus Ho, distributed by Mediacorp . Singapore 2003. Courtesy of obsessing over, while at the same time young actors. Deservedly, one of its leads, recipe for box-office success is a closely J Team Productions. managing to keep it just within a hair’s 10-year-old , won the Best guarded secret.

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A New Generation with Potential In the second decade of the revival, a new generation of filmmakers, some of them owing very little to either Eric Khoo or Jack Neo, has emerged. There are too many of them to name, but four – Ho Tzu Nyen, Boo Junfeng, Anthony Chen and Ken Kwek – stand out, largely because of the distinctive intrinsic qualities of their works. Ho Tzu Nyen is not just a filmmaker. He is one of Singapore’s most versatile mul- tidisciplinary artists, approaching art first and foremost in terms of multimedia. For him, cinema is just one means of expression among the variety of multimedia works he excels in. One of Ho’s seminal breakthrough works was Utama – Every Name in History is I (2003), which consisted of a video and 20 portrait paintings, cleverly playing with the founding narratives of Singapore. He completed his first, and so far only feature film, HERE in 2009. This allegorical film shot in a mock-documentary style is set in difficult adjustments a Singaporean fam- (Above left) Bobbi Chen and Joshua Tan in a mental institution (the Island Hospital), ily has to make when they hire a Filipino Boo Junfeng's 2010 Sandcastle. © Sandcastle. Directed by Boo Junfeng, produced by Fran Borgia where a traumatised man is forced to adjust maid – until they have to let her go when & Gary Goh, distributed by Golden Village Pictures. to life in this confined place while undergo- the Asian financial crisis in 1997 hits them Singapore, 2010. Courtesy of Zhao Wei Films. ing experimental treatment. Beneath the hard. The movie met with considerable suc- (Above) Angeli Bayani and Jieler Koh in surface, the Island Hospital is an obvious cess when it was featured at the Directors’ Ilo Ilo. © Ilo Ilo. Directed by Anthony Chen, produced by Ang Hwee Sim, Anthony Chen, metaphor for Singapore, and the entire film Fortnight at Cannes 2013, and went one step Wahyuni A Hadi, distributed by Golden Village is a grim and rather frightening commentary further than any other Singaporean film had Pictures. Singapore,2013. on the excesses of social engineering. HERE accomplished so far by winning the coveted (Far left) The late Chuen Boone Ong in his role as Monsters Man in Ho Tzu Nyen’s 2009 HERE. was selected for screening at the 41st Direc- Caméra d’Or at the 2013 Cannes Film Fes- Directed by Ho Tzu Nyen, produced by Fran Borgia, tors’ Fortnight section at Cannes in 2009. tival, and four awards at Taiwan’s Golden Michel Cayla and Jason Lai, distributed by Cathay- In 2010, another young Singaporean Horse Awards the same year: Best Feature Keris Films (Singapore). Singapore, 2009. Courtesy director, Boo Junfeng, completed his first Film, Best New Director, Best Original of Ho Tzu Nyen. (Left) Adrian Pang in Unlucky Plaza. Directed by feature film, Sandcastle. Boo is not entirely Screenplay and Best Supporting Actress. Ken Kwek, produced by Ken Kwek, Kat Goh and new to the film scene as he has had a series Interestingly, although Ilo Ilo is the Leon Tong. Singapore. 2014. © Pictures. of notable short films to his credit, such as first and so far the only Singaporean win Katong Fugue (2007), Keluar Baris (2008) and at Cannes, it initially received a conflicted until he recently began work on his remake Tanjong Rhu (2009). But his debut feature review from a Singaporean film critic dis- of Pontianak – his homage to Singapore’s took him to another level when it became turbed that recognition for the film should a good independent arthouse film as well cinema. Although Khoo remains one of to exist and thrive is now largely in place, golden age of Malay filmmaking from 1947 the first Singaporean film to be invited to come from abroad first. This is altogether as the characteristics of what are usually the leading lights of local film, he is not as unlike what it was like 15 or even only 10 to 1972. Pontianak is due for release in 2017. the prestigious International Critics’ Week not unexpected; winning an international perceived to be the hallmarks of a suc- isolated as he was when he first started his years ago. Film studies are more prevalent Furthermore, with the exception of at the 2010 Cannes International Film Fes- film award prior to being feted in the domes- cessful commercial movie. Intertwining career because several other filmmakers of in Singapore thanks to an efflorescence of some of Neo’s blockbusters, the domestic tival. Sandcastle, produced by Eric Khoo’s tic market is a common phenomenon in the destinies – the naive entrepreneur, the note have emerged over the years. film schools. Government support is also film market is still not financially sustainable. company Zhao Wei Films, tells the story of film industry, and the accolades the film has ubiquitous property agent, the loan shark, If Khoo spearheaded what could be accessible for the most part, covering some After years of selections and nominations, an 18-year-old boy who finds out, through received are definitively something to be etc. – in a manner reminiscent of both Eric hailed as the first wave of directors from of the essential steps needed for a film to Singapore films have only recently started his grandparents, that his father who died of proud of. Moreover, Ilo Ilo fared reasonably Khoo’s and Jack Neo’s styles, Unlucky Plaza 1995 to 2004 and was immediately followed materialise, from scriptwriting to develop- winning international accolades, as in the case cancer a few years earlier, was once part of a well at the domestic box-office, proving that portrays Singapore as a city-state devoured in this path by Jack Neo, Djinn Ong and ment, and production to distribution. of Anthony Chen’s Ilo Ilo. Many challenges group of political activists in the early years even local arthouse movies can sometimes by greed in more ways than one. The film Kelvin Tong, among others, one certainly Yet, the Singaporean film industry, after still await the local film industry, which, after of Singapore’s Independence. This leads the be commercial successes in Singapore. cleverly pulls it off by permanently oscillat- cannot ignore the second wave of younger lying dormant for so many years, has had surviving a near comatose period in the 1980s, young man on the brink of adulthood to reas- Finally, in late 2014, a new film director ing between an irresistibly funny comedy directors from 2005 to 2014. Filmmakers to start from ground zero, and is therefore is slowly coming back to life. If the stars are sess the official history of his country, and emerged in the person of Ken Kwek, with and a riveting drama on society. such as Boo Junfeng, Anthony Chen and, still a fledgling one. The truth is that apart all aligned, Singapore cinema might finally to reflect on the lack of idealism in a society his debut feature Unlucky Plaza (2014) – most recently, Ken Kwek, have pushed from Jack Neo, Eric Khoo, Royston Tan be on its way to a true renaissance. driven mainly by pragmatism. Clearly, this is the title a provocative metaphor of modern What the Future Holds Singaporean cinema into new directions and and Kelvin Tong, very few currently active another bold commentary on Singapore’s Singapore. Kwek had already been on brought local film to new levels of domestic directors have had the experience of mak- References societal, political and historical journey. the radar for his more controversial Sex. As Singapore prepares to celebrate the 50th and international recognition. ing more than two or three features in their Similarly, Anthony Chen honed his film- Violence. Family Values (2012) that was anniversary of its Independence in 2015, so Let us go back to the question that was entire careers. Even filmmakers like Glen Millet, R. (2005) Singapore Cinema. Singapore: Editions Didier Millet Pte Ltd. Call no.: RSING 791.43095957 MIL making skills through a variety of short films banned in Singapore. Fortunately, Unlucky too is Eric Khoo; he was born in 1965 and raised at the start of this essay: Is 2015 set Goei, who started directing as early as the Tan, K.P. (2008). Cinema and Television in Singapore: that have always displayed great potential, Plaza did not suffer the same fate and was will celebrate his own 50th birthday this year. to mark the start of a new decade of greater mid-1990s, found it difficult to go beyond Resistance in one dimension. Leiden: Brill. Call no.: as seen in his first film,G-23 (2004), Ah chosen to open the reborn SGIFF. The film’s This conjunction of dates is highly symbolic achievements for Singaporean cinema? their second feature film. After Forever Fever 791.43095957 TAN Uhde-Ng, Y. & Uhde, J. (2009) Latent Images: Film in Ma (2007) and Haze (2008). Chen’s debut strength lies in the fact that it managed to as Khoo is the person who has almost single- The potential is there, and the ecosystem (1997 ) and Blue Mansion (2009), there was Singapore. Singapore: NUS Press. Call No.: RSING feature film Ilo Ilo (2013) chronicled the bring together all the things that make for handedly sparked the revival of Singaporean that makes it possible for a film industry another long drought in Goei’s work in film 384.8095957 UHD.

30 31 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature MY MOVIE MEMORABILIA

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1. Venus Theatre opening souvenir, 1964. Venus Theatre opened in Queenstown in 1964 and closed in 1985 and was later converted into a church. 2. Record of local Mandarin filmLion City. Produced in 1960 by Cathay-Keris, the film was Singapore's first Wong Han Min’s treasure Malayan-Mandarin film and was produced to celebrate the attainment of self-government in Singapore. trove of film memorabilia 3. Leaflet (1920s) for Charles Chaplin'sA Day's Pleasure, which played at Surina Theatre. The theatre, owned by the – collected over three Surin family and located at , was open from 1922 to 1930. decades – provides a 4. Advertising envelope of The Ten Commandments, which glimpse of Singapore’s was screened at Cathay Cinema in 1956. 1 rich cinematic past. 4 All images courtesy of Wong Han Min.

Given the diverse range of movie-related and grand; the screen was often equally to focus on local productions and films with incident sticks in my memory: in 2006, a My lifelong passion for all things memorabilia available, aficionados can easily large and had the effect of drawing and Asian content. Before I started my collection, warehouse that belonged to the Eng Wah connected to films originally started from amass huge collections over time. These can absorbing you into the movie experience. I was unaware that Singapore was home to Organisation was destroyed by a fire. What a place of loss and nostalgia. To me, an include cinema tickets, posters, scripts and As my trips to the cinema were infrequent a booming film industry in the late 1940s was left of the building was earmarked artefact that is destroyed or lost translates gother ephemera to film props and costumes at best while growing up, I treasured each into the early 70s, but as my collection for demolition but before the bulldozers into a larger (and permanent) loss of Sin- as well as bulkier items like cinema seats, and every film I watched. grew larger, so did my knowledge about could tear the building down, I managed gapore’s history and heritage; this is what cinema projectors and studio camera sets Unfortunately, rapid urbanisation and Singapore’s golden age of filmmaking. My to rummage through the rubble and save fuels my passion to discover and preserve – in short everything related to filmmaking development, coupled with the introduc- curiosity was piqued, and my hobby has whatever I could find that was of historical Singapore’s cinematic history through the and cinemas. tion of the videotape and other forms of been growing from strength to strength value. I salvaged some paper ephemera but items I gather. Wong Han Min is a philatelist and collector I saw my first movie when I was five. My entertainment, caused many cinemas in over the last 30 years. the fire had sadly destroyed all the extant Over the past three decades, my collec- of ephemera relating to Singapore's social history. His collection of film-related parents had taken me to watch a Taiwanese Singapore to close down in the 1980s. As Initially I faced many challenges; film reels. Searching for film memorabilia tion has evolved into a sizable private archive memorabilia is particularly outstanding, and tear-jerker at the now defunct Kong Chian the number of movie-goers dipped and the besides having limited means to buy items, is not always so dramatic but neither is it of memorabilia that celebrates Singapore’s has been featured in various publications. cinema in Toa Payoh. I will never forget that film industry declined, I felt compelled to there were also space constraints and easy. From collector friends to the karung multicultural film and cinema history, one Wong has given talks and held exhibitions of magical evening, enveloped in the darkness document the loss of these grand movie discouragement from my family (my mum, guni (rag-and-bone man), and flea markets, that is closely intertwined with the personal his collections both locally and overseas, and and ensconced in my own seat, my feet houses with detailed photographs and ticket needless to say, grew increasingly impatient antique shops and online auction sites to memories of generations of Singaporeans recently collaborated with the Hong Kong Film barely touching the floor. I have been hooked stubs. Later on, I expanded my collection to with the clutter gathering in my room). overseas trips, I am always on the lookout who have grown up watching films – in much Archive on the exhibition “The Foundation of on movies ever since. Cinemas back then include other film-related memorabilia, and But like-minded friends and people I met for a piece of history that helps tell the the same way I have. Run Run Shaw’s Cinema Empire”. only had one hall, which was usually huge because the items are so diverse, I chose in the film business encouraged me. One Singapore film story.

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5. Cathay Cinema opening souvenir (1939). Cathay Cinema opened in 1939 and 8 has since been the flagship theatre of As the number of movie-goers dipped and the film industry in Singapore. 6. Sky Theatre ticket of the opening show Around the World in 80 Days in 5 declined, I felt compelled to document the 1958. Under , Sky Theatre opened in 1958 at Great World Amusement Park. It closed in 1978. loss of these grand movie houses with 7. Hand-coloured still of Nonya and Baba, produced by Cathay Organisation in 1956, starring famous Chinese actress detailed photographs and ticket stubs. Li Lihua in Peranakan dressing. 8. Lobby card of Hotel Murder Case (1963), an Amoy-dialect () film starring Singapore's famous getai ("song stage") singer Zhuang Xuefang (in yellow). 9. June 1961 issue of Malay Movie News with P. Ramlee on the cover. The magazine was produced by Shaw Organisation and featured Malay films made by Shaw's Malay Film Productions (MFP) Studios at Jalan Ampas. 10. Issue No. 117 of Screen Voice, a Chinese film magazine produced by Shaw Brothers. This issue focused on Song of Singapore, a local film produced at Shaw's studios. 6 9 10 11. Postcards produced by Cathay and Odeon cinemas, announcing upcoming 13 movie releases in 1955. 12. Movie flyer forAmrapali , a Hindi film screened at Galaxy Cinema on Vesak Day in 1967. Galaxy Cinema screened mostly Indian films and operated from 1965 to 1981. 13. & 14. Ticket stubs showing the name of the cinema and a picture of an actress on one side and your weight on the reverse. 15. Weighing machines such as this one from Lux Cinema, the last surviving old cinema in Hong Kong, were once common in Singapore's cinemas.

All images courtesy of Wong Han Min. 14

7 11 15

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What was left of the building was earmarked for demolition but before the bulldozers could tear it down, I managed to rummage through the rubble and save whatever I could find that was of historical value.

16. Lobby card of Shaw's film Crazy Bumpkins in Singapore was

shot on location in Singapore in 1976, 18 20 starring the city's famous comedians Wang Sa and Ye Fung. This comedic duo hit the big screens in the early 1970s (after gaining popularity on TV) when they were employed by Shaw Studios in Hong Kong. 17. A 1908 postcard of Theatre Royal which opened in 1908 on North Bridge Road. It became a full-fledged cinema in 1928 and closed in 1977 to make way for Blanco Court building. Part of Raffles Hospital now stands in its location. 18. A postcard advertising the film, Wings, in 1929. 19. An envelope promoting Wedding Bells for Hedy, a Chinese film produced by Cathay Organisation in 1960. 20. A bookmark promoting the 1966 MFP film,Jefri Zain - Gerak Kilat (Operation Lightning), which starred 19 21 Jins Samsuddin, Singapore's own James Bond. 17 21. A leaflet advertising the screening of Warner Bros' film, School Days, screening at Alhambra cinema in 1924.

All images courtesy of Wong Han Min.

36 37 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature CULTURE ON CELLULOID Alternative Films in Singapore Intellectual and art house films have a long history in Singapore but the issues the genre faces have changed little over the years. Gracie Lee charts the challenges of alternative cinema in our city.

Gracie Lee is a Senior Librarian with The Dominance of Hollywood the National Library of Singapore. Her responsibilities include managing the The allure of the cinematograph for mass ephemera collection, and developing and entertainment was phenomenal, extending providing content and reference services its global reach to Singapore. Movie-watching relating to Singapore. was such a popular past time in this Brit- ish colony that it prompted a reader of the Malaya Tribune to declare the 1930s as the “Cinema Age”.1 In 1929, a Straits Times editorial reported that “almost every small town in Malaya possesses its cinema”,2 and as early as 1917, an Eastern Kinematograph Association had been formed to protect the interests of exhibitors here.3 The beginnings of the art house cinema By the 1930s, Hollywood had firmly originated in France during the early 1920s entrenched its foothold in Singapore. Pre- in response to the growing commercialisa- war figures estimate that 70 percent of tion of films by Hollywood. After World War films shown in Singapore were American, I, pioneering French film companies such as 16 percent British and 13 percent Chinese, tGaumont and Pathé, which once dominated with the remaining from India, Java and the European motion picture industry, began Egypt. The stranglehold of American films losing out to big budget Hollywood produc- was reinforced by the presence of major tions. In response, French producers began Hollywood distribution offices in Singapore, experimenting with new approaches to film- many of which were located along Orchard making, paving the way for the emergence Road, including First-National (1926; later of the French avant-garde film. Warner Bros-First National), Fox Film (1927), At the same time, an intellectual film United Artists (1928), Famous Players-Lasky culture took root in France, giving rise to Corporation (1929, reorganised as Paramount the publication of film reviews in journals in 1931) and Metro-Goldwyn-Meyer (1933). and newspapers, the establishment of specialist theatres and the proliferation of A Difficult Singapore Audience film societies called cine-clubs which held regular screenings of non-mainstream In 1933, long-time Singapore resident Roland films such as art films, political films and Braddell wrote that the Singaporean audience retrospectives. Forums were also held for was an “extraordinarily difficult” one. “They filmmakers and enthusiasts to meet and either like a picture or they don’t; direction, discuss the art of cinema. The cine-clubs technique, lighting, photography, and the were very successful and began to spread finer points of acting mean nothing. The (Facing page) Publicity poster for the third French film festival – Rendezvous with French Cinema – throughout Europe. In Britain, the London Asiatic taste makes or mars a picture, and in 2013. Collection of National Library, Singapore. Film Society was established in 1925. the results are startling. Thus four gold medal

38 39 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature pictures, Cimarron, Smilin’ Through, Strange said, “The plea…is a reminder of Singapore’s a long association with film societies in Some of the earliest and longest-running non-mainstream movies in the city. The Interlude, and Grand Hotel were failures, cultural anaemia”.9 Britain. The society began functioning again film programmes were established by the Goethe-Institut later held screenings at while that magnificent pictureFarewell to While Singapore mulled over setting up with 185 members to aid the “promotion AF and the Goethe-Institut. rented premises in Finlayson Green, and Arms flopped so hard that you could hear it a film society, Kuala Lumpur went ahead and and appreciation of good films among its When the Singapore branch of the later at its own auditorium at Penang Road, in China...On the other hand, Pleasure Cruise, formed the Malayan Film Society on 6 October members with membership open to people AF opened in 13 April 1949, it marked its with a line-up that included features, docu- an ordinary programme picture, made plenty. 1947. The 120-member society was headed of all races”.13 launch with a screening of La Symphonie mentaries, video-art, experimental and Comedy, music, and love interest are what the by Jack Evans, the newly appointed Film For its first presentation,The Blue Pastorale (1946), which won the Grand Prix animated films. In 2014, the Goethe-Institut Asiatics appear to like, and anything histori- Censor for Malaya. Two of its objectives were Angel (1930) was screened at the British award at the 1946 Cannes Film Festival. The moved to a conserved shophouse at Neil cal leaves them cold… the greatest financial “to afford members opportunities of seeing Council Hall. The movie, which propelled film, based on a novella by Andre Gide, is Road; due to limited space at its premises, successes in Singapore so far have been Love and discussing Indian, Chinese, and English actress Marlene Dietrich into international a discomfiting tale of spiritual blindness, film screenings are now organised at mul- Parade, Sunnyside Up, Tarzan, East of Borneo, films which might not normally be seen in stardom, traces the descent of a sanctimoni- forbidden love and morality. Since its first tiplexes or cultural organisations such as and Samarang…”4 public cinemas” and “to promote interest in ous professor after he becomes entranced by screening, the AF has been tireless in its the National Museum of Singapore. One Straits Times headline quipped, the production of Malayan films.”10 In prac- Lola Lola, the headline act at a local cabaret efforts to promote French cinema, main- Special mention should also be made Malayan movie-goers “prefer Tarzan to seri- tice though, the society’s line-up comprised called “The Blue Angel”. The tragicomedy is taining a close connection with the local film of the British Council, which staged one of ous films”.5 The article went on to elaborate mainly European productions. Examples of regarded as the first major German sound industry since 1960s and putting together the longest-running film showcases, the that audiences enjoyed action films, cowboy, films screened includeThe World is Rich film and a fine showcase of German expres- film festivals since the 1970s. Today, British Film Festival (from 1984 to 2004), in Tarzan and serial features but films with lots (1947), a black-and-white British documen- sionism. SFS’ premiere screening played to Dr Shaw Vee Meng, the chairman of Shaw Singapore. The European Economic Com- of dialogue or psychological stories were tary on world food scarcity after World War a packed audience in Singapore. A hundred Organisation, sits on the board of the AF munity (today the European Union) also not popular. II; The Magic Bow (1946), a British musical people had to be turned away at the door and as president. The AF continues to organise showcased Continental films from Britain, Cynics would say that little has changed on the life of Italian composer Paganini; and a repeat screening was arranged. thematic film series and mini-festivals, as France, Germany, Netherlands, Denmark today as far as the maturity of Singapore film acclaimed French film noirQuai des Orfevres Since its revival, the SFS has been well as regular screenings at its 236-seat and Ireland to audiences in Singapore as audiences is concerned – the commercial (1947). By 1953, however, the society was no pivotal in forging an alternative film culture in-house theatre through its Ciné Club and early as 1977. These film festivals were and mainstream still rule over the art house. longer in existence. The vacuum was filled in Singapore through its presentations of Ciné Kids programmes. well-attended.14 by the thriving Selangor Film Society, which artistic and experimental films of merit. Another noteworthy cultural body that Today, film festivals are almost de Calls for a Film Society had over 900 members at one point. From the 1960s to 1980s, the society strug- has done much to advance film culture in rigueur channels of promotion for foreign gled to be in the black, faced with increased Singapore is the Goethe-Institut, founded embassies. A Business Times article in Despite the grim picture, the influence The Singapore Film Society costs while trying to grow its membership in Singapore in 1978. That same year, the 2003 reported that 10 to 12 film festivals of film societies and film appreciation in base. Nonetheless, the society maintained institute organised a film festival based are organised each year with robust ticket Europe was beginning to make its mark in The official history of the Singapore Film its policy of creative and daring program- Singapore. In 1933, The Straits Times carried Society (SFS) dates its beginnings to the The Blue Angel is one of the earliest art house ming, leveraging on partnerships with a public notice that “proposed to form an expatriate community in 1958. However, films to be screened in Singapore. © The Blue foreign cultural institutions and commercial Angel. Directed by Josef von Sternberg, produced 6 Amateur Film Society in Singapore” though newspaper sources point to a precursor of by Erich Pommer, distributed by UFA Paramount exhibitors to deliver a different cinematic it is not known if any readers responded to the film society in 1948 through the initiative Pictures, Weimar Republic, 1930. experience for audiences. In 1984, the the call. In 1936, another reader advocated of some like-minded locals. This earlier film SFS and the Kelab Seni Filem Malaysia the setting up of a film society, adding that “it society, also called the Singapore Film Society To enhance the appreciation of the (Malaysia Film Society) became affiliates, is the only thing which will save [Singapore] – presided by Tan Thoon Lip (Singapore’s first films, the SFS organised talks to tie in with allowing members from both sides to enjoy from complete aesthetic stagnation”.7 This Asian registrar of the Supreme Court) with the films. For instance, at the screening of reciprocal benefits. would give Singaporeans a chance to view Lim Choo Sye as secretary – started with 50 English Criminal Justice, the chief justice Today, the SFS holds over 200 screen- European and Russian films that commer- members of different races and backgrounds, of Singapore, Sir Charles Murray-Aynsley ings a year and 75 percent of its members cial exhibitors did not import, and which did which later increased to 100. It aimed to “en- spoke about the film and English law, while are locals. It established its permanent not come under the heavy-handed cuts by able its members to see more specialised, R.E. Holttum, Professor of Botany at the home at GV Marina in 1996. In 2015, the the Official Censor. historic, educational and artistic films than University of Malaya, was invited to speak society moved to GV Suntec when the The following year, The Straits Times is possible in the ordinary cinema”,11 and at the screening of Story of Plant Life. Marina cineplex closed down. The soci- published a scathing forum letter about to “[instil] a better appreciation of films in By 1950, however, the SFS was in ety has been a strong proponent for film the sorry state of film culture in Singapore. the large Singapore film-going public”.12 dire financial difficulties. The high cost of classification over censorship, which the “Singapore wants to see intelligent films”, Modelled after film societies in Britain, SFS’ hiring films, heavy entertainment tax, lim- government adopted in 1991. Through its the writer opined, adding that “it is time the members paid a subscription of $20 to see ited screening facilities, and difficulties in consultancy services, the SFS also helps farce of denying Singapore cinemagoers 24 films a year. procuring films were crippling the society. organisations to manage and promote intelligent films ceased. Censorship – which The SFS’ first screening was held at Moreover, the society had to rely on the their film events. presents abnormal difficulties in Singapore Cathay Cinema and opened with three films: services of local distributors because it was – has robbed filmgoers here of seeing such The World is Rich, a British Academy of Film not allowed to import films directly. As part Foreign Cultural Institutions fine films…because they were ‘unsuitable and Television Arts (BAFTA) award winner of its cost-cutting measures, the society Publicity poster of the 8th German Film Festival held in 2004. Collection of the National Library, Singapore. for Malayan audiences’. A Film Society is and an Academy Award nominee for Best screened 16 mm films at members’ homes. Singapore’s alternative film culture also the only way out for those who regard films Documentary; The Centre; and Cyrus. There- Despite these valiant efforts, news about the owes the early years of its development on German literature, opening with Faust, sales of up to 95 percent.15 Some of the for- as an art, who want to see more than the after, the society held most of its screenings, society’s activities ceased around 1950, and to the work of foreign cultural institutions which was inspired by celebrated German eign festivals that regularly appear on the commercial productions of Hollywood and comprising a repertoire of features, shorts, it was clear that by 1953 the society was no such as the French Alliance Française (AF) writer Goethe’s play of the same name. film festival calendar include the French, Elstree [Britain’s equivalent of Hollywood].”8 documentaries and cartoons, at the Vic- longer functioning. and German Goethe-Institut. In its fledging The cultural centre also began free weekly Italian, German, Japanese, European The letter found popular support: One toria Theatre and the British Council Hall On 15 October 1954, however, efforts years, the SFS would borrow films from for- screenings of German classics and films Union, Chinese and Korean film festivals. reader responded, “We are so surfeited with at Stamford Road. Its members were privy to revive a film society were mounted and eign embassies and cultural institutions to from the German New Cinema movement Country-themed festivals on Arab, Austral- American films, that the ‘differentness’ of a to films such asGirl of My Dreams (1944), a committee comprising mainly expatriates keep costs down. These foreign institutions, at the RELC Auditorium in the 1970s. ian, Israeli, Latin American, New Zealand, good European picture is a refreshing experi- a German wartime romance; Alexander was formed with Eric Mottram as presi- which were keen to promote their country, From 1980 to 1994, the Goethe-Institut Russian, Scandinavian and Southeast Asian ence. In a cosmopolitan city like Singapore, Nevsky (1938); Walt Disney’s Bambi (1942); dent. Mottram, who was a lecturer at the would also stage film events and festivals screened its films at its 220-seat cinema at cinema have also been organised by foreign one would imagine that there would be a and Nasib (1949), a locally produced Malay University of Malaya and later a key figure as a form of cultural diplomacy and engage the Singapore Shopping Centre; this was cultural agencies, the SFS or the Singapore public for such as a film society.” Another film by the Shaw Brothers. in Britain’s poetry revival of the 1960s, had Singaporeans through their national cinema. a time when there were few screenings of International Film Festival (SGIFF).

40 41 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature

for its draconian etiquette on dressing and mercial offerings. In 2000, Picturehouse food consumption that was implemented to closed after a 10-year run when Cathay Notes enhance the art film viewing experience). Building underwent a revamp. The cinema 1 Chua, A. L. (2012, December). Singapore’s ‘Cinema-Age’ The theatre screened critically acclaimed returned in 2006 with a smaller hall of 82 of the 1930s: Hollywood and the shaping of Singapore modernity. Inter-Asia Cultural Studies, 13(4), 592. and independent films such as Come See seats which allowed Cathay to experiment 2 The film in Singapore. (1929, May 2). The Straits Times, p. The Paradise (1990), The Wedding Banquet with more esoteric programming without 8. Retrieved from NewspaperSG. (1993), Welcome to the Dollhouse (1995) the pressure of filling seats. In the same 3 Eastern Kinematographs. (1917, March 13). The Straits Times, p. 8. Retrieved from NewspaperSG. and Underground (1995), which straddled year, Golden Village introduced the spe- 4 Braddell, R. (1982). The lights of Singapore (pp. 120-123). between art and entertainment. ciality Cinema Europa at its newly opened Kuala Lumpur: Oxford University Press. However, the cinema found that it multiplex at Vivocity. 5 They prefer Tarzan to serious films. (1948, July 13). The could not survive on art films alone as Today, the outlook for permanent art Straits Times, p. 7. Retrieved from NewspaperSG. 6 Public notices. (1933, August 28). The Straits Times, p. 4. local audiences were not quite ready for house venues appears bleak. At present, Retrieved from NewspaperSG. more alternative fare. The company began only Picturehouse and Sinema Old School 7 Film society for Singapore. (1936, December 27). The introducing mainstream films, such as (Singapore’s first and only independent Sunday Times, p. 4. Retrieved from NewspaperSG. 8 Singapore wants to see intelligent films. (1937, May 23). Army Daze (1996), The Crow (1994) and cinema that operated at Mount Sophia from The Sunday Times, p. 14. Retrieved from NewspaperSG. Striptease (1996), alongside its less com- 2007 to 2012) exist as brands as the industry 9 Intelligent films. (1937, May 30).The Sunday Times, p. 6. contends with piracy and competes against Retrieved from NewspaperSG. 10 Film Society for Malaya. (1947, October 6). Singapore Free online streaming, DVD releases and a host Press, p. 5. Retrieved from NewspaperSG. of mini film festivals. 11 Blow at cultural desert charges. (1948, July 18). Sunday THE FIRST ART HOUSE CINEMA Nonetheless, in January 2015 a new Times, p. 7. Retrieved from NewspaperSG. independent cinema, The Projector, opened 12 ‘Super’ films not Superman. (1950, March 25). Singapore Though Picturehouse is commonly Free Press, Saturday Magazine, p. 2. Retrieved from at the old Golden Theatre at Golden Mile thought to be the first commercial NewspaperSG. Publicity poster of the 16th Singapore Tower. Its management, Pocket Projects, 13 Is film society open to public? (1954, October 31).The art house cinema in Singapore, International Film Festival in 2003. The SIFF which specialises in adaptive re-use of his- Sunday Times, p. 13. Retrieved from NewspaperSG. was launched in 1987. Collection of the National Premier Cinema at Orchard Towers 14 Saw, P. L. (1978, November 6). Film festival proves locals toric spaces, has partnered FARM, a cross Library, Singapore. was an even earlier entrant to do care. The Straits Times, Section Two, p. 2. Retrieved disciplinary design practice, to retain the the scene. When it opened on 29 from NewspaperSG. original retro charm found in the venue’s 15 Nayar, P. & Cheah, U. (2003, July 11). Beyond Hollywood. The Singapore International Film Festival November 1978, the S$3-million steel frame seats, signage and floor letter- The Business Times, p. 13. Retrieved from NewspaperSG. mini-cinema had the smallest hall 16 Uhde, J. & Uhde, Y. N. (2010). Latent images: Film in The Singapore International Film Festival ing. Luna Films, a film consultancy company, in town with 477 seats. Its high- Singapore (p. 221). Singapore: Ridge Books. (SGIFF, formerly SIFF), which just celebrated has also been invited on board to curate and 17 Leong, W. K. (1983, February 18). Premier cinema to backed seats, posh blue interior, its 25th anniversary in 2014, is also an im- bring in alternative films. become live show theatre. The Straits Times, p. 11. and erudite programming soon Retrieved NewspaperSG portant contributor to the alternative film made it a popular venue with the 18 Foo, J. (1990, November 18). Too arty, too soon. The scene since its launch in 1987. Its founder Sunday Times, p. 32. Retrieved from NewspaperSG “arty film crowd”.17 Other Initiatives Geoffrey Malone, a Singapore-based Austra- In its early years, Premier lian architect, saw similarities between the Art and cultural centres with screening References Cinema was known for its release languishing Singapore film industry and its rooms have also contributed to the devel- of quality films such as Australian Aitken, I. (2001). European film theory and cinema: A critical dismal Australian counterpart until the lat- opment of film appreciation in Singapore introduction. Edinburgh: Edinburgh University Press. director Peter Weir’s Picnic at ter’s renaissance in the mid-1970s. Having through the film series, festivals, talks, Braddell, R. (1982). The lights of Singapore. Kuala Lumpur: Hanging Rock (1975) and works by Oxford University Press. Call No.: RSING 959.57 BRA been a part of the Australian New Wave, and workshops, symposiums and filmmaking Tsui Hark and Ann Hui, the auteurs Burns, J. (2013). Cinema and society in the British empire, a regular attendee of the Sydney Film Festi- projects they organise. Some of the more 1895-1940. Houndmills, Basingstoke, Hampshire; New of the Hong Kong New Wave val, he was inspired to start a film festival in well known programmes include Moving York: Palgrave Macmillan. Call No.: 302.234309171241 Cinema. It was also a favoured BUR Singapore. Modelled after the Mill Valley Film Images by The Substation (1997), Screen- venue for film festivals such as the Chua, A. L. (2012, December). Singapore’s ‘Cinema-Age’ Festival in San Francisco that Malone visited ing Room by the Arts House (2004) and ASEAN, Indian, French and German of the 1930s: Hollywood and the shaping of Singapore in 1986, the SGIFF was formed to spur local Cinematheque by the National Museum of modernity. Inter-Asia Cultural Studies, 13(4), 592-604. film festivals. At its peak, one of film production and to develop an audience Singapore (2006). Broadly, The Substation’s Call No.: R 306.095 IACS. its films, The Hurricane (1979), Drazen, C. (2011). The Faber book of French cinema for non-mainstream films. curatorial focus is on video art, experimental Come See the Paradise was the opening film for Picturehouse when it was launched in 1990. © remained in the box office for three London: Faber and Faber. Call no.: 791.430944 DRA. The festival’s first outing had a decid- films, Singapore shorts, documentaries Duggal, U. (2014, December 13). New indie cinema The Come See the Paradise. Directed by Alan Parker, produced by Robert F. Colesberry & Nellie Nugiel, months. However, it was a case edly Western (and slightly commercial) distributed by 20th Century Fox. United States, 1990. Collection of National Library, Singapore. and regional works; the Screening Room Projector woos hipsters with original, retro seats and of “too arty, too soon” as “most specially curated indie films. Retrieved January 15, 2015, bent due to the choice of its opening film showcases films from Singapore and Asia Singaporeans at that time hardly from mothership.sg The Name of the Rose (1986), a historical Singapore studio era (1947-1972); as well as from the 1970s and the SGIFF in the 1980s, as well as cult favourites; while the National Khun, A. & Westwell, G. (2012). A dictionary of film studies. knew what art pictures were”.18 To mystery starring Sean Connery and Christian a launch pad for aspiring local filmmakers the market appeared ripe for the entry of Museum’s emphasis is on Singapore shorts Oxford: Oxford University Press. Call No.: 791.4303 KUH remain financially viable, the cin- Slater, and closing filmThe Mission (1986), through its introduction of the Silver Screen commercial exhibitors in the 1990s. This and retrospectives, and World Cinema. -[ART] ema turned to screening B-grade Parkinson, C. N. (1951). Report of the Committee on Film which was headlined by Awards that recognises the Best Asian Fea- decade saw the opening of several art house To support the commercial and not- flicks such asGold Raiders (1982) Censorship 1951. Singapore: Govt. Print. Off. Call No.: and Jeremy Irons. However, by its second ture and the Best Singapore Short Film. The cinemas in quick succession: Cathay’s for-profit exhibition of alternative films, RCLOS 791.43 SIN and Hongkong slapsticks like Aces instalment, the SGIFF had begun to define SGIFF “stood at the cradle of Singapore’s Picturehouse (November 1990), Overseas small independent film distributors such SINdie. (n.d.). SINdie. Retrieved January 15, 2015, from Go Places II (1983). Other condi- http://www.sindie.sg/ and establish its niche in Asian cinema, film revival…It stimulated the country’s Movie’s Golden Studio (February 1991), as Festive Films (2002), Lighthouse Pic- tions, such as restrictions on ticket Sinema Media. (n.d.). Sinema. Retrieved January 15, 2015 having featured the works of the Chinese short and feature production, discovered Shaw’s Jade Classics (April 1991) and Lido tures (2003) and Objectifs Film (2006) have from http://www.sinema.sg/ prices, a 35 percent entertainment Fifth-Generation directors and a retrospec- its seminal filmmakers, and highlighted Classics (June 1993). emerged in recent years, as well as indie Stevenson, R. (1974, September). Cinemas and censorship tax, poor economy and the boom of in colonial Malaya. Journal of Southeast Asian Studies, tive on the iconic Malay actor P. Ramlee. its neglected film history.”16 When Cathay Organisation opened film websites such as Sinema and SINdie videos, took its toll on the cinema. 5(2), 209-224. Retrieved from JSTOR. In its successive editions, the festival Picturehouse, it had already assessed that to challenge and whet the appetites of avid Premier Cinema shut its doors in Tan, K. C. S. (1988). Cinema management in Singapore. built its reputation as a platform for the audience tastes had changed and filmgoers cinephiles in Singapore. Singapore: Singapore Film Society. Call No.: RSING Art House Cinemas 1983, and was converted into a promotion of Singapore-made films through were becoming more selective – in short 791.43068 TAN live-show theatre. Uhde, J. & Uhde, Y. N. (2010). Latent images: Film in the screening of Singapore shorts, features, With the groundwork laid by the SFS since Singapore was ready for an upmarket Singapore. Singapore: Ridge Books. Call No.: RSING documentaries and iconic films from the the 1950s, foreign cultural institutions speciality cinema (Picturehouse was known 384.8095957 UHD.

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Cambodia came into the archiving scene in 2006 with the opening of the Bophana Center, founded by the acclaimed Cambodian film director, Rithy Panh. Offer- ing free access to its collection of film, television, photography and sound archives, researchers and local film enthusiasts finally had access to a resource for Cambodian audiovisual materials.5 Unfortunately, the archive’s limited annual budget makes it a constant challenge for the staff to expand its services. The archiving situation in the Philip- pines is a complex one given that the film preservation function is encapsulated within A of Malaysia). However, organisational film the archiving of audiovisual materials. archiving in Southeast Asia was in its infancy Instead of a centralised body overseeing as recently as 10 years ago when only Indo- the archival of films, the work was split nesia, Laos, Vietnam and Thailand had their between three government institutions – the own dedicated film archives. This was the Film Development Council of the Philippines state of the film archiving landscape in the (FDCP), the Cultural Center of the Philip- region when the AFA first began. Over the pines and the University of the Philippines years, Cambodia and the Philippines have Film Institute. It was only in 2011 that the established their own film archives. FDCP formed a National Film Archive of the Philippines.6 Critics have long disparaged MOVING the government’s inaction in the area of film Film Archives in Southeast Asia archiving, likening it to “a blind man in the MOVING The first film archive to be set up in South- creative industry”.7 Digna H. Santiago, a film east Asia was the Sinematek Indonesia marketing professor from the De La Salle- (Indonesian Cinematheque), established in College of Saint Benilde in Manila noted MOVING 1975 under the late Misbach Yusa Biran (a that the government “does not have the 1997 South East Asia-Pacific Audiovisual foresight of preserving films because they Archive Association Lifetime Achievement view the industry as one that only provides In 2005, I was introduced to a soft-spoken Awardee and 2010 Fellow recipient). But temporary entertainment.”8 but tenacious young man who had single- in spite of his pioneering archiving work, Given the challenging film archiving handedly established the Asian Film Archive by 2010, the Sinematek was, in Misbach’s scenarios in these various countries, it was (AFA) in Singapore. What drew me to Tan words, “at its sunset”.1 clear that an Asia-wide organisation such as Bee Thiam’s project was his vision: to set On the other side of the Southeast the AFA would be relevant and necessary. up a Pan-Asian institution that aspired to Asian divide, the Vietnam Film Institute Within the first year of the AFA’s Reel Emer- JOURNEY iprovide a repository for all Asian films – many (VFI), one of the region’s older film archives gency Project’s open call for the deposit of Film, Archiving and Curatorship of which had yet to be archived in their own formed in 1979, was tasked to archive Viet- films for preservation, hundreds of films and countries. Partly curious as to how this not- nam’s cinematic and audiovisual heritage related materials such as photographs and for-profit, independent organisation would as well as function as its distribution and publicity kits from Singapore and countries survive, and partly enthused by the prospect research arm. The VFI has been much more from all over Asia were submitted. Karen Chan is Executive Director of the Asian of contributing towards the maintenance, successful in its endeavours and through Film Archive (AFA). Besides overseeing the preservation, restoration and curation of its links with INA (Institut National de AFA’s Ethos and Practices growth, preservation and curation of the archival films, I set aside my practical and L’audiovisuel, France), is planning to start AFA’s collection, she teaches film literacy and less than adventurous nature and took the a digitised library in Hanoi.2 When the AFA first started, its two-man team preservation courses to educators, students plunge – joining the AFA as an archivist in The Film Archive (Public Organisation) grappled with the ethos and practices that and filmmakers. Karen also serves on the Executive Council of the South East Asia- 2006, assuming the role of acting director in Thailand began as the Thai Film Archives would drive the archive, besides spending Pacific Audiovisual Archive Association. 2010 and subsequently taking over the reins in 1984 under Dome Sukavong. For years countless hours building up the collection. as executive director in 2014. As the AFA it remained a neglected unit within the Janna Jones’ observations about a mov- celebrates its 10th anniversary this year, I Department of Fine Arts before becoming a ing image archive succinctly captures the take a look back on a journey that has been public organisation in 2009. The archive has complexity of the organisational practices As the Asian Film Archive celebrates its 10th anniversary, both challenging and exhilarating by turns. survived to celebrate its 30th anniversary in involved in film archiving: there is a certain Karen Chan takes a look back at the genesis of the From a professional viewpoint, getting a new building with better facilities.3 “dialectic of creation and destruction, control the fledgling AFA organised and functioning Laos’ film industry was sidelined by and chaos… logic and ingenuity, order and organisation, the work it does and its plans for the future. took a staggering amount of work. Today, its long period of civil war. The National disruption” that define the “discovery, inter- Southeast Asian countries have their own Film Archive and Video Center (Lao Cinema pretation, re-presentation, and accessing”9 national archives while a few host an audio- Department), established in 1991, was of the visual experience of cinema, she says. visual archive department as a unit within charged with preserving the country’s audio- An archive is a space managed by the larger entity, such as in the case of the visual heritage. With UNESCO’s assistance, rational and disciplined logic but yet deci- National Archives of Singapore (NAS) and the department has successfully developed sions made in those early years were based Arkib Negara Malaysia (National Archives a database of the country’s film archives.4 on both intuition and logic, by marrying the

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personal with the professional. The AFA’s 2007) of preserving film archival master the Nanyang Technological University's connection with the restored films. However, survival depended on how it would manage material per title annually was US$1,059 Wee Kim Wee School of Communication film restoration is a highly expensive invest- the balancing act of creating a sustainable while the digital preservation of the same and Information and was aimed at raising ment; the restoration of a single film could archive that could serve its stakeholders material was estimated at US$12,514.11 awareness among youths aged 15 to 35 cost upwards of S$100,000, depending on its effectively while at the same time bringing Factor in inflation and the growing numbers on Singapore’s rich local film heritage and condition. Although the AFA has embarked together accessible and meaningful pro- of digital films produced every year, and the the importance of keeping it alive for future on the restoration of a number of important grammes for its users. figure becomes mind-boggling. generations. The campaign featured a series films and has accompanying programmes Developing a set of acquisition, selection The exponentially burgeoning budgets of nationwide guerrilla-style publicity efforts lined up, its other functions, specifically, and preservation policies was imperative. required for digital preservation bring to fore such as mock DVDs and posters at support- preservation and access, remain a priority. These policies were drafted using reference several important issues – acquisition, access ing stores and cinemas that promoted early After all, without preservation, there would points from the International Federation of and advocacy. Archives can no longer make Singapore titles with a twist; video projections be no films to restore: the restoration pro- Film Archives (FIAF) Code of Ethics; Ray do with an ad hoc policy to “acquire every- on walls and ceilings at public spaces; and cess is only a means to achieve the larger Edmondson’s Audiovisual Archiving: Philoso- thing, just in case”. The AFA has in place a a roving showcase featuring recordings and overarching goal of film preservation. phy and Principles (Paris, UNESCO, 2004); carefully articulated selection policy that is from local film community personalities.15 Part of AFA’s advocacy efforts is to and The UNESCO Recommendation on the tied to access issues. An archivist has to look Another more recent effort in 2014 to raise create greater awareness of its work in the Preservation of Moving Images (1985). It backwards and forwards in time, acquiring the profile of AFA’s preservation efforts was region, and what better way to do that than would be beyond the scope of this article to filmic material and assessing if someone in its successful inscription of 91 Cathay-Keris by spreading the word through the regional delve into a discussion on the principles and the future may find the material significant Malay Classics into the UNESCO Memory of archiving community. A year after the AFA’s philosophies of film archiving. However, I will and useful.12 The AFA will likely not acquire a the World Asia-Pacific Register.16 formation, it applied for membership to the articulate some of the main points underlying film if the filmmaker stipulates that it is not Nonetheless, advocating film preserva- South East Asia-Pacific Audiovisual Archives the AFA’s preservation policies. meant for public access, unless the reasons tion is an uphill task, especially when there Association (SEAPAVAA). This is an associa- While its name dictates Asia as its for the restricted access are acceptable – for are so many equally worthy public causes tion of organisations and individuals involved collection ambit, the AFA has focused its example, a film cannot be released until after competing for funds. In an effort to take on a in the development of audiovisual archiving preservation efforts in the last nine years its film festival premiere or a film cannot be more proactive curatorial role and shed the in Southeast Asia, Australasia (Australia on the geographical region of Southeast viewed due to the deteriorating condition of passivity that archives are usually associ- and New Zealand), and the Pacific Islands Asia. As mentioned earlier, until recently, the sole surviving film copy until an access ated with, film archives all over the world (Micronesia, Melanesia, Polynesia). Currently Southeast Asia had very few dedicated film copy has been made. are using technology to restore older titles over 38 countries are members of SEAPAVAA. They Call Her... Cleopatra Wong archives with the means and the budgets As Sam Kula, former director of the in their collection and make these films Shortly after, in 2007, the AFA became was released in to archive the numerous films produced in National Film, Television and Sound divi- more accessible to the public.17 Through the first Singapore-based organisation to 1978, and starred the region. Nevertheless, concentrating on sion of the National Archives of Canada, has such restoration projects, the archive is become an affiliate of the International Marrie Lee as an Interpol agent. Southeast Asia did not limit the films that the stated so articulately, “In archives, the only able to more effectively advocate for its work Federation of Film Archives (FIAF). Being a This poster is AFA acquired for its collection – it currently thing that really matters is the quality of the through the films it chooses to restore and member of these associations has helped part of the AFA's archives titles from wider Asia, such as China, collections; all the rest is housekeeping.”13 the strategic activities it can organise in AFA to develop relationships between holdings. © Korea, Japan, Taiwan, India and Iran. Cleopatra Wong International Although archives are generally associ- The Importance of Archiving Pte Ltd. ated with the antiquated, the AFA’s collection is relatively young by archival standards, To raise the funds needed to run a film THE 19TH SEAPAVAA CONFERENCE with 70 percent of its films dating back to archive, modern archivists must advocate Hosted by the AFA and supported by the conference on topics such as archival an average of 25 years. The main reason is for their cause while ensuring that potential ABOUT THE AFA National Library Board, Singapore, the advocacy, archival repatriation, profes- because the AFA makes a conscious effort to donors understand why the archive’s work 19th South East Asia-Pacific Audiovi- sional development, repurposing of The Asian Film Archive (AFA) is a charity acquire the works of living filmmakers. The is important, and its impact on heritage sual Archives Association (SEAPAVAA) archives, technical, organisational and that preserves Asia's rich film heritage selection criteria are determined by a list of and artistic preservation. Regardless of the Conference and General Assembly will professional sustainability, and archives in a permanent collection focusing on priorities, taking into account the condition worthiness of the film archive’s intentions, take place from 22 to 28 April 2015. at risk. For more information, visit www. culturally important works by indepen- of the films’ formats and the “Asian-ness” the public will not support preservation The week-long event at the National seapavaaconference.com. The theme dent Asian filmmakers. It promotes and significance of the films on the cultural without seeing its results. Archivists need to Library Building will feature a two-day for the 2015 SEAPAVAA conference is a wider critical appreciation of Asia's landscapes of both its country of origin and make their work visible in order to raise the symposium with concurrent sessions, Advocate. Connect. Engage. This theme cinematic works through organised internationally. In addition, films that are public’s awareness of what exactly archives institutional visits, Restoration Asia II resonates closely with the thrust of AFA’s community programmes, including independently produced and are not pre- do. Only then can archives elicit continued (an event focusing on the restoration programmes and the three objectives screenings and talks. served in the home country of the filmmaker support and generate new revenues.14 Over of films in Asia or about Asia), work- contained in its mission statement – AFA’s holdings include films of or by any other archive, receive particular the years, the AFA has done its best to con- shops, and an excursion. A total of 48 “To Save, Explore, and Share the Art of award-winning Filipino filmmakers attention. These guidelines are detailed on nect with the public and its stakeholders by papers will be presented during the Asian Cinema”. such as Lino Brocka, Mike de Leon, Lav the AFA’s website and the mechanics of how promoting and showcasing its programmes Diaz, and Malaysian filmmakers Amir films can be submitted for assessment and in order to garner support and goodwill. This Muhammad, U-Wei Haji Saari and Tan preservation are elaborated in the website’s was particularly important during those early 10th anniversary logo of the Asian 10 Chui Mui, among others. The Archive is Film Archive Frequently Asked Questions (FAQ) section. years when the AFA was an independent also home to a collection of Cathay-Keris With the advent of the digital age, not-for-profit organisation and depended Malay Classics from the 1950s to 1970s esplanade and through the AFA Channel archivists are scrambling to care for their solely on public funding. that are part of the UNESCO Memory of on viddsee.com, an online portal that analogue systems, digitising and migrating Aside from the variety of talks, work- The World Asia-Pacific Register, a list of showcases the best of short films from analogue materials while keeping up with shops and film screenings for educators, endangered library and archive holdings. Southeast Asia. technological advances in order to preserve students, the film community and the general The AFA’s collection is available The AFA became a subsidiary of the new digital material. Apart from the practical public, the AFA has organised different events for public reference at the library@ National Library Board in January 2014. concerns of know-how and time, there is the to create awareness on film preservation. very real issue of funding to support on-going The Save Our Film campaign in 2010 was a digital preservation. The estimated cost (in collaboration with final-year students from

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9 Jones, Janna, The Past is a Moving Picture: Preserving archivists and the wider film communities, the Twentieth Century on Film, pg.9, Florida, University allowing for an exchange of information, Press of Florida, 2012. THE GENESIS OF THE ASIAN FILM ARCHIVE not even survive the passage of time; in experiences and networking opportunities. 10 AFA's collection guidelines and FAQ section can be found 2004, few Asian countries had their own on the AFA website http://www.asianfilmarchive.org. Annual conferences have provided further The Asian Film Archive (AFA) was the national film archive, and those that existed 11 Jones, p.126 avenues for the AFA to share its work as brainchild of Tan Bee Thiam, its founder did not function effectively. Without proper 12 Davis, Randall, Digital Dilemma: Strategic Issues well as learn from the many professionals and former executive director. After in Archiving and Accessing Digital Motion Picture preservation facilities, it was clear to Tan who attend these conferences. graduating from the National University Materials, p.2, Academy of Motion Picture Arts and that significant elements of Asian heritage Sciences, 2007. The AFA has come a long way from of Singapore (NUS) in 2004, Tan embarked and culture would be lost forever. 13 Jones, p.126. when it started 10 years ago by the visionary on a two-month backpacking trip that took 14 Kula, Sam, Appraising moving images: assessing the Tan Bee Thiam. Having built a reputation him to New Delhi, India. Unbeknownst archival and monetary value of film and video records, Scarecrow Press, Lanham, 2003. and gained traction with the regional film to him at the time, this visit would sow The Basis 15 Details on the campaign can be seen on the campaign community, AFA’s mission statement – “To the seeds for the beginnings of the first In the course of his research, Tan drew in- website http://www.asianfilmarchive.org/5th/about.htm Save, Explore, and Share the Art of Asian Singapore-based film archive. Tan had spiration from the great work of the British 16 Publicity coverage in The Straits Times on the Cinema” – will continue to guide its future always been a film enthusiast; as a stu- Film Institute (BFI), Berkeley’s Pacific Film UNESCO inscription: http://www.stcommunities.sg/ entertainment/movies/st-review/cache-singapore- work and direction. The editors of Film dent he served as the president of the Archive and Asian film archives in Taiwan, malay-films-recognised-unesco-part-regions- Curatorship: Archives, Museums and the NUS film society, nuSTUDIOS, and was Thailand and Hong Kong. International heritage. Information about the UNESCO Memory of Digital Marketplace succinctly define film himself an emerging filmmaker. In New and regional film institutions such as the the World programme can be found at http://www. unesco.mowcap.org/index.htm. curatorship as “the art of interpreting the Delhi, Tan attended the Osian’s-Cinefan: International Federation of Film Archives 17 Francis, David, Film Curatorship: Archives, Museums, aesthetics, history, and technology of cinema 6th Festival of Asian Cinema, where he (FIAF) and the South East Asia-Pacific Au- and the Marketplace, p.170, Paolo Cherchi Usai, David through the selective collection, preserva- was exposed to key filmmakers from diovisual Archives Association (SEAPAVAA) Fracis, Alexander Horwath, Michael Loebenstein (eds.), SYNEMA Publikationen and Le Giornate del Cinema tion, and documentation of films and their around Asia. offered further insight into the different Muto, Pordenone, , Vienna, Austria, 2008. 18 exhibition in archival presentations.” On These figures, including members models he could pursue. 18 Ibid., p.231. a lecturer for the Film, Sound & Video Tan Bee Thiam (right) presenting a token of this occasion of the AFA’s 10th anniversary, from NETPAC (Network for the Promotion Upon his return from India, Tan was (FSV) course at Ngee Ann Polytechnic, and appreciation to former president S.R. Nathan this quote eloquently encapsulates what the of Asian Cinema), like Singapore’s Phillip pleasantly surprised to discover that there Straits Times journalist and film critic Ong (left) in 2010. Courtesy of the AFA. words “Save, Explore and Share” in AFA’s Cheah and India’s Aruna Vasudev, would had already been suggestions to establish Sor Fern rounded out the team, forming mission statement hopes to achieve. later inspire and influence his thoughts. a Singapore film archive. He spent the References the first governing board of the AFA. Asian Film Archive Collection: Singapore NETPAC’s mission is to promote lesser next few months networking, meeting The team was met with scepticism in Shorts Vol. 1. Asian Film Archive & National Archives of Singapore known Asian films. “The organisation filmmakers and heads of institutions (2005). AFA Signs First MOU with the National Archives their search for archival space and funding. The AFA has since grown from impressed me,” recalls Tan. “A lot of as well as film researchers, laying the of Singapore. [ONLINE] Available at: http://www. DIGITAL FILM RESTORATION People were hesitant to collaborate with strength to strength, expanding its col- asianfilmarchive.org/About/Press/MouNas.aspx. [Last media attention is given to the glamour foundations and framework the archive the AFA as it was unproven in an endeav- lection, engaging and educating the public Accessed Feb 9, 2015]. Digital film restoration is a highly of the Cannes, Venice and Berlin film would be built upon. Davis, R. (2007). Digital dilemma: Strategic issues our that other established institutions and preserving Asia’s film heritage for specialised and laborious process. festivals. But there are very hardworking Tan envisioned that the archive would in archiving and accessing digital motion picture had attempted but failed. This changed future generations. It involves the complex use of tech- Asian filmmakers who create works for be situated in the context of a university, materials. California: Academy of Motion Picture Arts when Tan emailed a Christmas greeting and Sciences. nological software and equipment their own people. I felt that their work, at to be enjoyed not just for entertainment to NAS’ then director, Pitt Kuan Wah, in Thong Kay Wee is the Outreach Officer Edmondson, R. (2004) Audiovisual archiving: Philosophy that are designed to ingest huge least those I’d seen, were important and but as a form of art and for serious study, and principle. Paris: UNESCO. December 2004. This email proved to be of the Asian Film Archive (AFA). One part amounts of data. The simplified groundbreaking.” providing resources for research and Jones, J. (2012). The past is a moving picture: Preserving a game changer. publicist and one part curator, he is respon- the twentieth century on film. Florida: University workflow diagram below gives Tan had the good fortune of acting academia. He also wanted to situate Pitt and NAS’ then deputy director sible for devising strategies to propagate Press of Florida. Call no.: 791.43 JON an idea of the three main parts of as translator for the post-screening Q&A Singapore cinema in the wider context of Kula, S. (2003). Appraising moving images: assessing the of the Audiovisual Archives Unit, Irene the archive’s mission and film collection. digital film restoration – repair and sessions of the acclaimed Taiwan-based Asian cinema – a film archive that would archival and monetary value of film and video records. Lim, were extremely supportive of the In his free time, he considers himself an Lanham, MD: Scarecrow Press. 025.1773 KUL -[LIB] cleaning; restoration and preserva- filmmaker Tsai Ming Liang. In their con- be Asian in its scope and focus. idea of the AFA. It was a project that independent moving image artist. Kwok, Y. (2005, January 21). Archive alive; Singapore tion; and access output. versations, Tsai provoked Tan into think- Tan turned to his alma mater, NUS, was aligned with NAS’ own heritage directors donate their films to nascent organisation. ing about archiving and its importance. and approached Chew Kheng Chuan, The Straits Times Life! Retrieved from http:// preservation mission. Things quickly fell “[Tsai] had problems with distribution, founding director of NUS’ Development asianfilmarchive.org/About/ViewNewsletter. into place: a referendum of understand- aspx?id=131 problems with keeping track of his own Office and chairman of The Substation ing was drafted and NAS became an Leow. S.W. (2009, June 18). He aims to boost NTU brand. film prints,” recounts Tan. “Even for a (Singapore), who supported Tan’s vision. The Straits Times. Retrieved from http://news.asiaone. archiving partner. This partnership was very established filmmaker like Tsai Ming He offered Tan not only his wealth of Notes com/News/Education/Story/A1Story20090616-148823. essential because AFA finally had access html Liang, his works were rarely seen outside experience, but also office space within to proper archival storage facilities and 1 Quote from South East Asia-Pacific Audiovisual Lim, B.C. (2013). “Archival Fragility: Philippine Cinema of film festivals.” This led to conversa- the NUS Development Office – the AFA’s Archives Association citation of Misbach Yusa Biran as and the Challenge of Sustainable Preservation”, could function as a film archive. Film repair tions with other Asian filmmakers such first home. one of its founding fellows on its website, News Archive Newsletter No.67, Center for Southeast Asian Studies In January 2005, the AFA decided and cleaning as award-winning Malaysian director 2010, Inaugural Fellows Circle; http://www.seapavaa. Kyoto University, Japan. to establish itself as an independent com/ Tan B.T. (2009). Asian Film Archive Collection: Singapore U-Wei Haji Saari, who revealed that he The Birth non-profit public company with limited 2 This is the vendor’s template of VFI’s digitised library Shorts Vol.2. [ONLINE] Available at: https://bthiam. stored the film prints of his acclaimed software platform 2014; http://www.opsomai.com/en/ wordpress.com/2009/01/31/singapore-shorts-vol2/. guarantee. The AFA made a call for con- films himself, acknowledging that in a Tan approached his NUS schoolmate, archives-references/131-vietnam.html [Last Accessed Feb 9, 2015]. tributions and more than 200 film titles 3 ‘The reels keep turning’, Bangkok Post, 2014, http:// Tan, B.T. (personal communication, December 23, 2014) tropical environment, they would run the filmmaker Kirsten Tan, with whom he Restoration and were collected within the first half of www.bangkokpost.com/print/430558/. Tan, J. (2005, January 25). Film buffs to the rescue; preservation risk of being damaged. had made films with when they were in 4 Segay, Jeremy, “Current Audiovisual And Cinema They’re out to protect the old and fragile – Meet 2005. The AFA steadily garnered support Tan quickly recognised the chal- nuSTUDIOS. Kirsten gave Tan her full Situation in Laos”, 2007, http://film.culture360.asef. the folks behind Asian Film Archive. Today Plus. from local and regional filmmakers and org/magazine/current-audiovisual-and-cinema- Retrieved from http://asianfilmarchive.org/About/ lenges these Asian independent filmmak- support and joined him as a co-founder. received positive press coverage. In March situation-in-laos/. ViewNewsletter.aspx?id=130 ers faced. Not only did they have trouble He also approached Kenneth Paul Tan, a 2005, a working committee was formed to 5 http://www.bophana.org Usai, P.C. (2001). The death of cinema: History, cultural raising money to produce their films, these NUS political science professor at the time, 6 Nocon C., Ramon, “Finally, a national film archive”, memory and the digital dark age. London: British Film prepare for an Asian film symposium as Access output works did not always receive the traction and Kenneth Chan, an assistant professor Philippine Daily Inquirer, 2011, http://entertainment. Institute. Call no.: 778.58 CHE well as to produce Singapore’s first DVD inquirer.net/18699/finally-a-national-film-archive. Usai, P.C., Francis, D., Horwath, A., and Loebenstein, M. they deserved, denying audiences the at Nanyang Technological University’s anthology of Singaporean short films – the 7 Del Mundo C., National Audio-visual Archive, p.4, 2009, (eds.) (2008). Film curatorship: Archives, museums, opportunity to view them. Many films might (NTU) humanities school. Jacqueline Tan, Manila, The Philippines. and the digital marketplace. Pordenone, Italy, Vienna, 8 Santiago, D. H., interviewed for Saving Face: Issues in Austria: SYNEMA Publikationen and Le Giornate del Film Preservation and Archiving, Santiago, M., 2010. Cinema Muto,. Call no.: 025.1773 FIL -[LIB]

48 49 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature

SEARCHING FOR SINGAPORE IN OLD MAPS AND SEA CHARTS

Kwa Chong Guan dissects the history of maps, and tells us how Singapore was perceived and located in early modern European maps of the region.

The study of maps has traditionally been historic maps of island Southeast Asia1 Topographic maps, or street directories, projects an image we find more convincing Cantino Chart, Anonymous 1502. Based on the the purview of geographers. Maps are a that contains much information on issues as the historian of cartography J.B. Harley2 about the landscape around us? latest information from Portuguese explorations, secretly obtained by Albert Cantino, the map documentation of the landscapes that geog- of Singapore’s historical significance and argues, “persuades” us to encounter what What do we make of a 16th-century depicts the Malay Peninsula as an elongated raphers study, and as such, have not attracted its strategic location. we should be seeing and searching for in Portuguese sea chart of the Straits of promontory that reaches the south of the the attention of historians whose primary the landscape around us. Maps, Harley Melaka and Singapore that does not mark equator. Biblioteca Estense Universitaria, tconcern is the study of events. But maps says, are “inherently rhetorical images.” a Cingaporla, Cingatola or Cinghapola, (the Modena, C.G.A. Permission from the Ministry of More than a Reflection of Landscapes Arts, Culture and Tourism, Italy. document the spatial context within which They persuade us to see our landscape in a old Portuguese transcriptions for Singapura) the events that historians study occur. This We accept that the maps in Parry’s collec- particular context and perspective. Harley where we expect to see it? Is the chart essay examines how early modern European tion are an accurate reflection of Southeast also argues that maps, “are never neutral therefore inaccurate and to be disregarded? exploring. In choosing what to mark on the maps and sea charts of Asia are significant Asia’s landscape in the 16th, 17th and 18th or value-free or even completely scientific Or, should we not ask why the Portuguese maps, they were in fact documenting a vision for what they show of Singapore's histori- centuries, just as we accept that the maps ... They are part of a persuasive discourse, cartographer misrepresented the location of the East as lands of great wealth, the locus cal significance and strategic location two we download from Google today are accu- and they intend to convince.” of Cingaporla? Is Singapore the “Sabana of King Soloman’s Ophir with its abundance of centuries before Stamford Raffles claimed it. rate and reliable reflections of what we see We believe in maps because they help Emporium” located on the southern edge gold, silver and other gems which Ptolemy’s The National Library’s acquisition around us, helping us to get from point A to us to locate ourselves in unfamiliar places, of the Golden Khersonese or Golden Penin- poetic reference to the Golden Khersonese in 2012 of Dr David E. Parry’s collection point B in the quickest possible time. If we and because we think what maps tell us is sula in the 16th-century rendition of a world confirmed. Asianus in Latin (or Asianos in of early modern maps of Insulae Indiae do not reach our destination by following both convincing and useful. But will there map based on the work of the 2nd-century Greek) was believed to be the source of Orientalis (or, the East Indian Islands) is the signs and symbols we read on the map, come a time when we question the accuracy Greek astronomer Claudius Ptolemy? If so, things exotic: silks and spices, aromatic a major step forward in the search for we assume we missed a landmark – a road and the adequacy of the map? Do we deem then we should intensively study Ptolemy’s herbs, intoxicating drugs, places of golden Singapore’s historical roots in old maps junction we should have turned at, but did the map unreliable when we cannot match map for what else it can tell us about this opportunities. Was this continent of Asianus and sea charts. Parry is a soil scientist not; or a temple we saw, but could not find the hills we see in front of us on a trek with earliest possible mention of a settlement really located at the furthest edge of a flat Kwa Chong Guan is a member of the National and remote sensing expert who used a on the map – and we backtrack to look again what is marked on the map? Or, when the on this island. world as depicted in medieval maps of the Library Board and chairman of its National variety of modern and not-so-modern topo- around us for the signs and symbols marked map has symbols and signs of too many In reality, the early Portuguese, and Christian world, or was the world a sphere Archives Advisory Committee. He is also a graphic and thematic maps of the region on the map to get to our destination. In this landmarks and features that confuse us, and all other European cartographers, were in as Ptolemy had calculated? Senior Fellow at the S Rajaratnam School in the course of his work. Over the course sense, the map is not a reflection of the reality we cannot match what we see around us with a sense filling in the blank spaces of their This essay argues that these early of International Studies (RSIS) at Nanyang of 25 years while working in Indonesia, we see around us, but the reality into which what is marked on the map? Do we reject maps with toponyms, geographical details modern Portuguese, Dutch and English maps Technological University. he amassed an outstanding collection of we fit what we see around us. those maps and look for another map that and historical data of the lands they were and charts of the landscape around our island

50 51 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature are critical evidence of Singapore’s histori- Tabula Asiae XI, Arnold Buckinck, 1478. The still today one of the better guides to a dif- cal roots not because they are an accurate earliest map in the National Library's rare maps ficult text.4 The lawyer and barrister, Dato Sir (or inaccurate) reflection of the landforms collection is a 1478 Ptolemaic map. The “Aurea Roland Braddell, pioneered the study of the Chersonesus” (or Golden Chersonese) in the 5 these Portuguese sailors encountered as map refers to the Malay Peninsula. Collection of Ptolemaic references to Malaya in the 1930s. they sailed through the Straits of Melaka and the National Library, Singapore. A new era in the study of the historical Singapore, but more importantly, because geography of Malaya started with the estab- they were statements about Singapore’s loca- geographers, a far more credible and reliable lishment of a Department of Geography at tion in a world of rich and exotic things these model of the world than the medieval world the University of Malaya and the recruitment sailors believed they were sailing around. maps they had inherited. It enabled them to of Paul Wheatley in 1952. Wheatley focused These maps were rhetorical devices accurately map the locations of places they on the historical geography of Malaya and the Portuguese sailors must have found were sailing to as compared to the flat maps studied classical Chinese to access the reassuring as they sailed into the hitherto of the world they were familiar with. Ptolemy’s Chinese texts on early Southeast Asia. His uncharted waters of the Indian Ocean and influence is clear among the leading European 1958 University of London doctoral thesis the South China Sea. The maps and charts cartographers of the 16th century. on The Golden Khersonese: Studies in the were comforting because they assured the The Ptolemaic vision of Indiae Orientalis Historical Geography of the Malay Peninsula Portuguese sailors that they would not sail was not corrected until around 1513 with the before A.D. 1500, published in 1961, remains off a flat world into nothingness, as they were publication of Livro de Francisco Rodrigues today a benchmark reference text. In suc- taught in Christian theology. These early (The Book of Francisco Rodrigues) by the cessive chapters he collated and translated modern maps were not a representation of self-styled “Pilot-Major of the Armada that the classical Chinese, Greek, Latin, Indian our 16th-17th century world, but a documen- discovered Banda and the Moluccas”. This is and Arab textual references to the historical tation of a Renaissance Europe constructing one of the earliest navigational guides with geography of Malaya. a new world of Asianus and itself. They depict 26 maps and charts on sailing from Europe Wheatley also reached out to Prof Hsu a Europe coming to terms with itself as no to East Africa and onwards to Melaka and Yun-ts’iao, a driving force in the establishment longer the centre of the world, as depicted then the Moluccas (Maluku) and north China. of a tradition of Chinese scholarship on Sin- in their theological maps of the world, but Other rutters and charts provided new data gapore and the Nanyang at the old Nanyang having to rethink its place in relation to the to revise Ptolemy’s map. University and the older South Seas Society. new and vast continent of Asianus.3 The German cartographer Martin Wald- Hsu spent much of his academic career seemüller (1470-1518) led the revision and searching the Chinese texts for references The Legacy of Claudius Ptolemy updating of the Ptolemaic model to incorpo- to early Singapore. Gerald R. Tibbetts, who rate new information that 15th-century voyag- was researching Arab trade in early Southeast The view of the world as a sphere and not the ers were bringing back. His 1507 Universalis Asia at the University of Khartoum, was asked flat disc of medieval European cartography is Cosmographia map of the world has today to collate Arab material relating to the Malay very much the legacy of Ptolemy, who devel- attained World Heritage status as the first Peninsula, a summary of which was published oped in his work Geographike Huphegesis – or map to identify America as a separate land in the Malayan Journal of Tropical Geography. simply Geography as it is more commonly mass. In addition to the obligatory 27 Ptole- Tibbetts continued to collate the Arab texts referred to – a grid system of describing maic maps, Waldseemüller also published containing material on Southeast Asia, part and mapping the world that has become the another 20 “modern maps” that were revised of which has been published.6 basis of cartography today. Ptolemy borrowed in various editions. All these studies of Singapore’s early from the work of earlier Greek geographers, Another German cartographer, Sebas- historical geography and that of the Malay namely Strabo, Eratosthenes, and Hipparchus tian Münster (1488-1552) produced a new Peninsula stopped with the arrival of the of Nicaea. These early Greek geographers demands of sailors – on prominent landmarks through which Ptolemy and much of Greek sively summarises Portuguese knowledge of edition of Ptolemy’s Geography in 1540 with Portuguese at Melaka. The development assumed that geography was more a science such as Alexandria and the Pillars of Hercules. philosophy and science was transmitted back the seas at the beginning of the 16th century. 12 new maps and a major text, and published of Portuguese and Dutch cartography of derived from philosophy and mathematics It was an irregular network of grids which to late medieval and Renaissance Europe. On the Cantino Chart, the African coast is as Cosmographia four years later. The work went Southeast Asian waters within an evolv- than a tradition passed on by sailors and his successor, the astronomer Hipparchus, Refugees fleeing the Turkish advance on we would recognise it today, with Portuguese through some 56 editions in six languages in ing Ptolemaic model of the world has not navigators. These Greek philosophers were radically improved upon. Constantinople brought to Italy a number of flags planted at their respective landfalls. The the following century. Münster’s world map attracted the attention it deserves. The more interested in fundamental questions Instead of pegging his grid to geographi- Byzantine manuscripts, including Ptolemy’s Indian coast, which the Portuguese explorer continued to follow Ptolemy’s principle, in exception is the translated edition by J.V.G of the nature and shape of the earth – was it cal and historical landmarks, Hipparchus Geography. The 1405 Latin translation of this Vasco da Gama reached in 1498, is also which all the continents were linked up and Mills, a Puisne Judge of the Straits Settle- a flat disc or a sphere? – than documenting worked out a grid pegged to the position of seminal work caused a sensation. It inspired recognisable on this chart. But beyond the enclosed the Indian Ocean, even as accumu- ment, of the Declaracam de Malaca e India landforms of foreign lands as described by the stars. It was Hipparchus who divided the Iberian sailors and navigators to sail further Indian Ocean is still a blank and the mapping lating knowledge showed otherwise. It was Meridional com o Cathay by the Eurasian sailors and explorers. world into 360 latitudinal parts and 180 paral- afield in their search for alternative sea routes of Insulae Indiae Orientalis reflects Ptolemy’s only in the 17th century that this Ptolemaic explorer and mathematician Manuel God- As far as we know, it was Plato, in his lel longitudinal parts. Then came Ptolemy, to Southeast Asia, the source of spices for work as rewritten by 10th and 11th century image of Asia was finally abandoned. inho d’Erédia.7 Mills was also commissioned work Phaedo, who argued that the earth whose skill and greatness lay in his ability which demand was growing exponentially in Byzantine clerics who incorporated Byzan- in 1934 “to make a collection of early maps must be spherical because the sphere is to synthesise and improve upon the work of Europe. These explorers started revising and tine and earlier Arabic data into the text and Recovering Ptolemy’s Legacy in SE Asia and charts relating to the Malay Peninsula” the most perfect mathematical form. Later his predecessors. expanding the classical navigation guides, or compiling maps they attributed to Ptolemy. and “spent many months during the summer Greek philosophers such as Aristotle refined Ptolemy may have been forgotten in periplus, to the coasts they were sailing along. Ptolemy’s maps and system of antici- It was the Greco-Latin texts, in particular of that year examining available material the mathematics for a spherical earth. But medieval Europe, but not in the Islamic From the 14th century onwards, Iberian and pating what lay over the horizon of the ocean those by Ptolemy, that the pioneering gen- in the libraries of the British Museum, the it was Eratosthenes, perhaps the greatest empires that emerged after the 7th century. Italian navigators started producing a series provided more assurance and inspiration than eration of historians studied to make sense Royal Geographical Society, the School of the ancient Greek geographers, who was A massive translation programme of much of of sea charts (or portolanos) to accompany the flat world map as depicted in the flawed of the historical landscape of Southeast Asia of Oriental Studies and the Royal Asiatic the first to calculate the circumference of the the corpus of Greek philosophy and science the textual navigational guides they had been Topographia Christiana (Christian Topogra- they were reconstructing. George Coedès, Society.” 8 This collection of 208 maps starts earth based on the difference in the length was undertaken under the Abbasid caliphs using previously. phy) of the 6th century. More importantly, the who became the doyen of early Southeast with copies of maps attributed to Ptolemy to of the shadows cast by the sun at noon in al-Manșūr (reigned 754-78), Hārūn al-Rashīd The secret Portuguese world chart – a Iberian navigators of the 15th century found Asian history, started his career by publish- the 1502 Cantino Chart and ends with 1879 Alexandria and at Syene (modern Aswan). (reigned 786-808) and al-Ma’mūn (reigned copy of which the Italian agent Alberto Cantino Ptolemy’s maps and system of longitude and ing an edition of the Greek and Latin texts on maps of the peninsula are now deposited in He also attempted to develop a grid for his 813-33) which fundamentally shaped the nas- smuggled out of Lisbon in 1502 and now bears latitude coordinates, as copied and modified Southeast Asia in 1910. Louis Renou’s 1925 the Lee Kong Chian Library at the National maps which he based – in deference to the cent Islamic civilisation, and was the conduit his name as the Cantino Chart – comprehen- by various Byzantine clerics and earlier Arab edition of Book VII of Ptolemy’s Geography is Library, Singapore.

52 53 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / Feature

Distinguishing the Old Straits A History Long Before 1819 from the New Straits From this perspective, these early modern GEO|GRAPHIC: WHAT IS THE EXHIBITION ABOUT? sea charts are more than an encapsulation of It fell to the polymath scholar of Malaysiana, European cartographic history of how Portu- Curated by the National Library Board, “Geo|Graphic: Celebrating Maps and their Carl Alexander Gibson-Hill, to detect incon- guese and Dutch mariners mapped landforms Stories” is a combination of exhibitions and programmes that explore maps and sistencies and discrepancies in d’Erédia’s along the Straits of Melaka and Singapore mapping in their historical and contemporary contexts. The maps – which date demarcation of the four waterways for sailing in their search for the Golden Khersonese back to as early as the 15th century – are drawn from the collections of the National past Singapore – the Johor Straits, the Keppel envisioned in the 2nd century by Ptolemy in Library, Singapore, and the National Archives of Singapore and supplemented by Harbour passage, the Sister’s Fairway (south faraway Alexandria. Instead, they point to a rare maps specially flown in from Britain and the Netherlands. This is a unique of present-day Island) and the Main history that existed long before Singapore’s opportunity to see printed and hand-drawn maps that are on public display for the Straits – and that of later sea charts. The official founding in 1819. These early modern first time in Singapore. 18th-century sea charts marked the waterway sea charts and maps of the Straits of Melaka between Johor and Singapore as the “Old and Singapore are windows into the complex Geo|Graphic is currently taking place at the National Library Building until Straits,” but for the Portuguese mariners, maritime in the 300 19 July 2015. The exhibition takes place on different levels of the building. the “Old Straits” was not the Johor Straits years before Raffles stepped ashore on our that they tried to avoid as the sultans of Johor island. More importantly, these visual docu- L1 Singapore’s first topographical and City Map controlled the estuary of the Johor River. ments point to the battle for the security and Through their Malay pilots, the Portu- control of the Straits between the European L10 Land of Gold and Spices: Early Maps of Southeast Asia and Singapore guese became aware of an alternative pas- merchant empires, and Singapore’s location sage south of Singapore island, which d’Erédia in that struggle. L11 Island of Stories: Singapore Maps marked as the estreito velho or “old strait” in SEA STATE 8 seabook | An Art Project by Charles Lim his maps. It fell to Gibson-Hill to sort out the Several of the maps mentioned in this confused nomenclature for the waterways article are currently on display at the in a much under-appreciated monograph MIND THE MAP: MAPPING THE OTHER exhibition “Land of Gold and Spices: published in 1956.9 Gibson-Hill’s interest Presents the works of three Singapore-based contemporary artists who Early Maps of Southeast Asia” at level 11, in this problem of sailing past Singapore harness data collection and mapping strategies to investigate what lies National Library Building (see text box for probably arose from his interest in sailing beneath the surface of contemporary life. more details). and boats. He was able to undertake this study of the evolving nomenclature for the L7 Bibliotopia I By Michael Lee four waterways for passage past Singapore because he had at his disposal, in the library L8 Outliers I By Jeremy Sharma of the old Raffles Museum, copies of 208 maps Notes This map shows the Old Strait (“estreito velho”) as a narrow channel running east-west of the southern and charts relating to Singapore and Malay L9 the seas will sing and the wind will carry us (Fables of Nusantara) | coast of Singapore island. The New Strait (“estreito novo”) is found further south of the Old Strait. This detail 1 See David E. Parry’s write up of his collection in his from the 16th to the 19th centuries that J.V.G is taken from a 19th-century facsimile of Manuel Godinho de Eredia’s 1604 map in Malaca, L’Inde Orientale The Cartography of the East Indian Islands; Insulae By Sherman Ong Mills assembled in 1934. et le Cathay. Collection of the National Library, Singapore. Indiae Orientalis (London: Countrywide Editions, 2005). Unfortunately, Gibson-Hill’s insights into 2 J. B. Harley, The New Nature of Maps; Essays in the • Free guided tours of the exhibition are available every Sat and Sun until what early European cartography can tell cal evidence indicates a thriving settlement In another essay,12 Peter Borschberg History of Cartography, ed. P. Laxton (Baltimore: John 19 July 2015. English tours run from 2 to 3pm and Mandarin tours from us about Singapore’s early modern history on Singapore since the beginning of the 14th draws attention to a little-known sche- Hopkins University Press, 2001) 2.30 to 3.30pm. Each tour is limited to 20 participants on a first-come-first- 3 See Jerry Brotton for a development of this argument was ignored, if not dismissed, by the new century, which would then mark 1999 as the matic map of a Dutch-Portuguese naval in his Trading Territories; Mapping the early modern served basis. For inquiries, please email [email protected] generation of historians at the Department of 700th anniversary of Singapore. However, the confrontation at the eastern entrance of world (London: Reaktion Books, 1997) • A series of lectures on the theme of maps and mapping has been organised History at the University of Malaya established problem was linking the 14th-century port, the Tebrau Straits in October 1603, which 4 Louis Renou, La Géographie de Ptoléméé, L’Inde (VII, as part of GeoIGraphic as well as an interactive exhibition called MAPS!, now in 1951 under Prof C. Northcote Parkinson. which had been abandoned at the end of that the German publisher Theodore de Bry had 1-4) (Paris: Champion, 1925) 5 R Braddell, A Study of Ancient Times in the Malay on at selected public libraries. For more information on all programmes, pick They took a very textual and archival docu- century, to the East India Company outpost included as an appendix in his multi-volume Peninsula and the Straits of , MBRAS Reprint up a copy of GoLibrary or access it online at http://www.nlb.gov.sg/golibrary/ mentary approach to Singapore history within that Stamford Raffles established in 1819. compilation of early 16th-century voyages 7 (Kuala Lumpur, Malaysian Branch of the Royal its British colonial context. Parkinson’s suc- In his essay “Sailing Past Singapore”,11 and travels to the East and West Indies, Asiatic Society, 1980) 6 Tibbetts, G.R. Study of the Arabic Texts Containing cessor as Raffles Professor, K.G. Tregonning, Kwa Chong Guan argues that Gibson-Hill’s Peregrinationum in Indiam Oriental et Materials on South-East Asia, Oriental Translation 12 “A Portuguese-Dutch Naval Battle in the Johor River Singapore: Singapore History Museum. declared that “modern Singapore began in charting of the use and disuse of the vari- Indiam Occidentales. Borschberg traces the Fund, New Series, vol. 44 (Leiden, E. J. Brill for the Estuary and the Liberation of Johor Lama in 1603,” Mills, J.V. (transl. & ed.) (1997). Eredia’s description Royal Asiatic Society, 1979). 1819. Nothing that occurred on the island ous channels for sailing past Singapore in circumstances leading to this naval battle in Miksic & Low, eds., Early Singapore, 106-117 of Malaca, Meridional India and Cathay, Malaysian 7 J. V. Mills, transl. & ed., Eredia’s Description of and Borschberg, The Singapore and Melaka Straits; Branch of the Royal Asiatic Society Reprint 14. prior to this has particular relevance to an early modern times provides a link from the to the Sultan of Johor’s seizure, with Dutch Malaca, Meridional India and Cathay, Malaysian Violence, Security and Diplomacy in the 17th Century Kuala Lumpur: Malaysian Branch of the Royal understanding of the contemporary scene; 14th-century emporium at the mouth of the aid, of a fully laden Portuguese carrack – the Branch of the Royal Asiatic Society Reprint 14 (Kuala (Singapore: NUS Press, 2010), p. 60-112, which Asiatic Society. Lumpur: Malaysian Branch of the Royal Asiatic it is of antiquarian interest only”. As a result, Singapore River to the East India Company Santa Catarina – which was returning from carries the narrative forward from that 1603 battle. Mills, J.V. “On a Collection of Malayan Maps in Raffles Society, 1997). Gibson-Hill’s work was disregarded and the outpost established by Raffles. Based on the Macao in February 1603.The Portuguese Library,” Journal of the Malayan Branch of the Royal 8 J. V. Mills, “On a Collection of Malayan Maps in Asiatic Society, 15/iii (1937), 49-63. research undertaken by the History Depart- sea and the channels the mariners were using blockaded the Johor capital at Batu Sawa Raffles Library,” Journal of the Malayan Branch of the Parry, D.E. (2005). The cartography of the East ment’s staff and students focused largely on to navigate past Singapore and its 60-odd sur- and captured and occupied the old capital Royal Asiatic Society, 15/iii (1937), 49-63. References Indian Islands: Insulae Indiae Orientalis. London: 9 Gibson-Hill’s study was first published as “Singapore: the “modern” post-1819 history of Singapore. rounding islands, there was much activity, as at Johor Lama. It was during this Johor- Countrywide Editions. Notes on the History of the Old Strait, 1580-1850,” Braddell, R. (1980). A study of ancient times in the Malay Tibbetts, G.R. Study of the Arabic texts containing It was not until 1999 when new interest documented in the sea charts and maps. The Portuguese confrontation that the Dutch Journal of the Malayan Branch of the Royal Asiatic Peninsula and the Straits of Malacca, MBRAS Reprint materials on South-East Asia, Oriental Translation in Gibson-Hill’s insights was revived in a Sin- Malays, Portuguese, Dutch and British were intervened in support of Johor and stepped Society, 27/I (1954), 163-214 and expanded as 7. Kuala Lumpur: Malaysian Branch of the Royal Fund, New Series, vol. 44 (Leiden, E. J. Brill for the Singapore: Old Strait & New Harbour, 1300-1870, Asiatic Society. gapore History Museum publication entitled all manoeuvring and challenging each other up their attacks on Portuguese ships in the Royal Asiatic Society, 1979). Memoirs (Raffles Museum), no. 3 (Singapore: Borschberg, P. (2010). The Singapore and Melaka Straits: Wheatley, P. (1961). The Golden Khersonese: Studies Early Singapore 1300–1819: Evidence in Maps, for control of the waters around Singapore. waters around Singapore. Johor-Dutch Government Printers, 1956). Violence, security and diplomacy in the 17th century. 10 in the historical geography of the Malay Peninsula Text and Artefacts. The publication followed Raffles’ establishment of an East India Com- cooperation culminated in an alliance that 10 J. N. Miksic & Cheryl-Ann Low, eds., Early Singapore Singapore: NUS Press. Call no.: 911.16472 BOR before A.D.1500. Kuala Lumpur: University of a 1999 exhibition of artefacts recovered from pany factory on Singapore was not so much provided the Dutch East India Company the 1300s-1819, Evidence in Maps, Text and Artefacts Gibson-Hll, Carl A. (1956) Singapore: Old strait & new Malayan Press. (Singapore: Singapore History Museum, 2004). harbour, 1300-1870, Memoirs (Raffles Museum), no. 3. archaeological excavations on Fort Canning about gaining territory but a continuation of rights and privileges to trade with Johor Wheatley, P. (1983). Nāgara and commandery; Origins 11 See “Sailing Past Singapore”,in Early Singapore Singapore: Government Printers. of the Southeast Asian urban traditions. University of and its environs since 1984. The exhibition this struggle for control over its waterways and an agreement to mount a joint attack 1300s-1819, Evidence in Maps, Text and Artefacts, Miksic, J.N. & Low, C. eds. (2004). Early Singapore Chicago Dept Geography Research Paper 207-208. provocatively suggested that the archaeologi- for British shipping in the region. on Portuguese-occupied Melaka. pp. 95–105 1300s-1819, Evidence in maps, text and artefacts. Chicago: University of Chicago Dept of Geography. 54 55 BIBLIOASIA APR–JUN 2015 Vol. 11 / Issue 01 / NL Notes

Royston Tan Sun Koh

Hailed as one of the most promising talents in the One of the few women filmmakers in Singapore, home-grown filmmaking industry, Royston Tan Sun Koh’s multiple-award-winning films have has won more than 40 international and local film been screened in more than 30 festivals around awards. Most of his works focus on social issues the world. Her film career started in Singapore and seek to challenge the boundaries of societal with her debut short filmThe Secret Heaven expectations. It comes as no surprise that some (2002) that won the Silver Hugo at the 38th Chicago regard him as the enfant terrible of Singapore International Film Festival. The film also won her film. Tan set up his own film production company, the Best Director award at the 15th Singapore 10twentyeight, in 2008. International Film Festival and audience choice awards in France, South Korea and Japan. In 2013, Synopsis: Old Friends is the final installation fol- her filmSingapore Panda, part of an omnibus fea- lowing the highly acclaimed documentary series ture Letters From The South with Tsai Ming Liang, Old Places (2010) and Old Romances (2012). In this Aditya Assarat and Royston Tan, premiered at the latest documentary, food is the platter on which Busan International Film Festival and was sold to personal stories of ordinary people from all walks of The Sundance Channel in 2014. She also directed Why is it a docu-fantasia? life are collected, unravelled and served. By compil- the short filmThe Secret Passion of Mdm Tan Ah ing these collective narratives of Singaporean food Lian, a short film commissioned by the National The genre is inspired by Guy Maddin’s 2007 film, (Above) Film still of The Studio tales – in the process preserving intimate stories Arts Council for Silver Arts 2014. My Winnipeg, which is a mix of personal history aka The Songs that Sang Her of joys and woes, love and loss – Old Friends offers and elusive memories. My film is bookended by live (2015), directed by Sun Koh. future generations a taste of the past through our Synopsis: The Studio aka The Songs That Sang action videos with the middle section made up of Courtesy of Sun Koh. common passion for food. Her is a docu-fantasia born of Sun Koh's journey composite pictures from my iPhone photographs (Facing page) Production shot of Old Friends (2015) directed halfway round the world to Sweden where she taken while I was living in Sweden. I got actress by Royston Tan. Courtesy of How did your team go about collecting and worked from 2011 to 2013. She discovered just Serene Chen to “act” as me by inserting her into Royston Tan. unravelling the food stories featured in how uniquely Singaporean her taste in music was my iPhone photographs; for example, I superim- Old Friends? during this two-year sojourn. posed Serene’s face over mine in a picture of me during a radio interview overseas. I call it a docu- After making Old Places and Old Romances, How did you come to make a film featuring fantasia because the protagonist becomes true to we’ve compiled a strong database of people who Lion Studios? her memories only when she fictionalises it. She regularly contribute stories to us. The directors is haunted by the incessant replaying of national involved in this production happen to be equally Lion Studios at 115B Commonwealth Drive is one songs in her mind and hears herself singing these passionate about collecting personal stories from of the last recording studios specialising in ana- From the national songs; it’s quite a bizarre scenario! all sources. logue recordings. During the 1980s and 90s, stars such as Mark Chan and Tracy Huang recorded at So these songs become metaphors What made you choose food as a theme for the this studio, and in 1997 the soundtrack of Glen for homesickness? last of your heritage-themed documentaries? Goei's film Forever Fever was cut here too. It also happens to be the “birthplace” of national songs Yes, and I wanted to highlight the fact that we are We see food as a very important form of heritage in such as We Are Singapore, Stand Up for Singapore a very “musical” country – we like to compose Singapore. While filmingOld Romances we realised Director’s and Count On Me Singapore … and that’s what my songs for every occasion. You never know when that the old, authentic taste of local food is chang- story focuses on. I initially submitted my entry for you'll catch yourself singing these songs, like I did ing, if not in danger of disappearing altogether as the Singapore Memory Project film festival as a when I was very homesick... and of all places, in a hawkers are replaced by food courts and coffee documentary but I encountered some issues with bathroom in Sweden! shops taken over by cafes. We see an urgent need to copyrights. So I decided to change my storyline to archive and celebrate these hawkers who dedicate focus on my memories of home. their lives to perfecting their iconic dishes. In a nutshell, The Studio aka The Songs That Chair Sang Her, is about a woman who circles the globe Which segment in Old Friends resonated most In candid, off-the-cuff conversations, four only to find herself back in the same spot – home. with you and your team, and why? young auteurs talk about their upcoming works It’s a metaphorical journey of finding one’s roots We’re in the midst of production now; I think the while being far from home. for the Singapore Memory Project film festival research intrigues us the most. Every day, we make a new discovery on our tiny island. Did you feel homesick when you were away? Michelle Heng is a Librarian with the National I was living and working in Sweden when one day Do you have a personal comfort food that you Library of Singapore. She compiled and edited I caught myself singing Stand Up for Singapore in the crave for every so often? Singapore Words Maps: A Chapbook of Edwin bathroom. It took me by complete surprise because Thumboo’s New and Selected Place Poems as well I love roasted duck! It has always been my I never sang it outside of National Day parades or as Selected Poems of Goh Poh Seng. favourite dish. the classroom context! I realised just how much I was missing home when I heard myself singing that song … it was quite a revelation for me.

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hanging out at Centrepoint and would see these really cool-looking kids. I never saw them doing Ervin Han anything wrong or dangerous. In fact, I wished I could be like them because I was always in my With over 14 years of experience in the telecom- school uniform and school life was really mundane! munication, media and animation sectors, Han These kids were full of colour and coolness. co-founded Robot Playground Media in 2013 to focus his company's creative efforts in develop- Centrepoint Kids were mostly seen as a less- ing branded content in design and animation for than-positive social phenomena in the 1980s; commercial clients, original animated IPs and how did you capture the positive vibes of this educational apps for kids. youthful subculture? Synopsis: The Violin is an animated short film that The general consensus was that Centrepoint (CP) chronicles a journey spanning 80 years through the Wee Li Kids were bad hats, but like I said, I saw them as tumultuous times in Singapore's history, such as cool fashionistas. The average Singapore kid (at that One of Singapore’s pioneer female filmmakers, World War II, Merger and Independence. A scene from Wee Li Lin's time) was pretty stifled and repressed (I thought) so Wee Li Lin’s prolific filmography includes 10 short Centrepoint Kids. Courtesy to me they were daring and expressive. Different CP You mentioned that many youths today seem of Wee Li Lin. films and two feature films as well as several tele- The Violin is a visually arresting montage Kid gangs also had their own signature look. They to know about Singapore’s history in fragments. movies and commercials. She has won several of Singapore's history over the span of 80 dressed like pop-idols of that era like Madonna, What’s the best takeaway you hope young awards both locally and internationally, most years from the perspective of the musical Boy George and Cyndi Lauper. As a teen, I wanted Singaporeans will have after watching notably "Best Director" at the Singapore Inter- instrument. Why did you choose a musical to be part of a cool gang just like the CP Kids but a retrospective historical animation like national Film Festival and a "Star Award" at the instrument as the storyteller? alas, I didn’t have enough guts. The Violin? Shanghai International Film Festival for actress We always knew there would not be any dialogue in Joanna Dong for her starring role in the sopho- The Violin is a collection of fragments from our Was it difficult casting for hip-hop and break- the film, so the music really is the aural storyteller more feature Forever. Wee’s films have travelled past, so it's not an exhaustive account, of course. dancers for this short film? How did you find that has to carry and elevate the visuals for the film to prestigious festivals such as the Tribeca Film What I hope it can do is to raise awareness and the protagonist? to work. The violin seemed natural because it has festival in New York, the Cairo International Film interest in some of these historical events and that haunting and evocative quality for the moods festival, the Shanghai International Film Festival, It took some work as there were two major scenes places, especially when many of them tend to fade we wanted, and can also be emotional and poignant. and the Hawaii International Film Festival, among in the film with breakdancers. I had an open casting in our memories, or worse, into oblivion. By using others. She is presently working on several new call and luckily, we found some dancers who could animation to bring these stories and places to life, You pored through some really harrowing projects and teaches part-time at film schools. also act. Most of the actors in my film are between hopefully we can make a fresh and more lasting survivor accounts of Operation Sook Ching 18 and 25 years old; I wanted to cast younger ac- impression, especially on the younger generation. in 1942 where the Japanese rounded up and Synopsis: Centrepoint Kids recreates the vibrancy tors but they were having their exams. The lead executed Chinese males who were suspected and colour of the iconic mall in the 1980s and the actress, Meishi Koon, is my best friend’s niece and What is the most memorable segment in to be anti-Japanese. How did you and your eye-catching subcultures and trends of the youths she had previously worked on one of my films as The Violin for you? team feel when you found these grim facts? who hung out at the shopping centre. The film an extra. Meishi has this relatable goofiness and It's probably the scene where the Japanese chronicles a youth's initiation into a group, learn- beauty that I was looking for and she captured the We read many books, went through scores of bombed Singapore the first time on 8 December ing what it takes to be a Centrepoint Kid. Often essence of the character so naturally. She was a research documents at the National Archives 1941. Many people don't realise that it was actu- portrayed as delinquents in the media, Centrepoint perfect fit for this role. of Singapore and visited museums to immerse ally part of the same Pacific attack that destroyed Kids hopes to capture the positive spirit of these ourselves in those dark chapters of our country's Pearl Harbour just hours before. Now, every year, young rebels who sought to express themselves Did you know any CP Kids when you were history. It was an important process as I wanted the when international news commemorate the Pearl in unique, albeit, daring ways. growing up? team (including myself) to have a real understanding Harbour attack of World War II, I'll remember what of those events, even if we didn't end up including Catch “Rewind/Remind: I reconnected with some girls in my school through happened to Singapore almost at that same time. What inspired you to make Centrepoint Kids? some of those scenes in the film. One of our young A Singapore Memory Facebook whom I knew to be CP Kids in order to artists actually asked me earnestly if she could work Project Film Festival”, I was a child of the 1980s. I was from Singapore get their stories. Unfortunately, there is a certain Lastly, do you play the violin? Or any musical on fewer scenes of the Japanese bombing and Oc- featuring specially Chinese Girls' School which was then located at stigma attached to being a CP Kid so the few people instrument for that matter? cupation because it was too depressing. It showed curated films by eight Emerald Hill. I used to spend almost every day I approached for interviews were still in denial that she connected personally and emotionally with I don't play the violin at all. I can get by playing the local directors, from about having been one. Only one girl opened up the story. Hopefully, audiences will too. guitar if the audience is drunk enough! 23 May 2015 to 20 June to me. Fortunately, she was very helpful and open. 2015 at the National Library Building, library@ One last question. Where did your crew find esplanade, library@ the neon-coloured outfits? Do you still own any orchard, Tampines 1980s-style relics in your own wardrobe? Regional Library, We had to tailor some of the clothes and the rest Woodlands Regional were bought off the shelves at Bugis Village. It was Library as well as Bukit good timing; baggy jackets and shirts came back Merah Public Library. into fashion last year so we bought those as well. Find out more at bit.ly/ As for relics of the 80s, I still keep some cassette smpfilmfest tapes, vintage furniture and one or two toys. I wish I had kept my Walkman and some other T-shirts A scene from the animated and clothes that are now probably floating in some film The Violin directed by Ervin Han. Courtesy of Salvation Army universe! Ervin Han.

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The Singapore Memory Project Georgina Wong is an Associate with the Exhibitions and Curation department at the National Library launches a new exhibition to of Singapore. She is the curator of the exhibition “Greatest Gift of a Generation: Life Stories” – to be honour our pioneer generation at launched at the Woodlands Regional Library in late Woodlands Regional Library May 2015.

Struggles and hardship are part of the human When asked questions such as “Which time condition. On the other hand, triumph in the face of your life did you struggle most?” or “How have of great adversity is much less commonplace, and your struggles impacted your life?” many of them is often remarkable – especially when the struggle responded stoically, “What struggles? That’s just stowards success is hard won. Many films celebrate life.” Yet their stories paint lives of genuine hard- stories of people overcoming unrelenting hardship ship, protracted years of struggle and an enduring to achieve great things, often played out in the spirit to rise above their situations. dramatisation of the protagonists’ suffering and In curating “Life Stories” we were inspired their subsequent vindication. by the perseverance, humility and generosity of Real life is much less sensational but the spirit shown by this generation of Singaporeans. experiences are no less moving. Many people emerge from situations of adversity without neces- “Greatest Gift of a Generation: Life Stories” is a sarily achieving what the world would consider as year-long exhibition that opens at the Woodlands spectacular or extraordinary. Real life suffering Regional Library in late May 2015. The evocative is subtler and less dramatic, and the definition of portraits on display are taken by a group of - success is much more nuanced. tography majors from the School of Art, Design The Singapore Memory Project’s upcoming and Media, Nanyang Technological University. exhibition, “Greatest Gift of a Generation: Life Each portrait showcases the distinctive style of Stories”, celebrates the quiet triumph of over- the photographer while capturing the context of coming personal adversity. In conceptualising the story. Also included in the exhibition are five this exhibition, we sought out the generation born video clips featuring first-person narratives of before Singapore’s Independence – people who selected individuals. have experienced and witnessed great joy but also great hardship – to share their personal stories. The Singapore Memory Project – an initiative We did not uncover amazing feats of derring- by the National Library Board – is a nationwide do or film-worthy triumphs from the interviews. movement that was started in 2011 to collect, What is more remarkable, however, are the preserve and provide public access to memories responses and perspectives of these 40 individuals and stories relating to Singapore. to the hardships they had suffered.

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Helena Mahesan

Age 70 Assistant Director of Nursing at KK Women and Children’s Hospital

When I was five, I was with my father at home one Later on I became a nurse. It was while day. Suddenly, he fell over saying that he needed I was attached to the intensive care unit that my water and he was in pain. I ran to the kitchen, took loved one was diagnosed with childhood cancer. a glass of water, and tried to feed him. Of course He passed on nine months into his diagnosis. it spilled all over because he was collapsing. So I thought at the time that I didn’t want to return I ran out to fetch my mother. She was nine months to nursing. But the same good friend who had pregnant then, but she ran home, and we took my encouraged me to join nursing counselled me and father to the hospital. Eventually, he died. said that I had to move on, and that nursing was I was scared that day when the priest came. a wonderful career I should not give up. My mum spoke to me and my younger brother; she said she had to work, and I had to be cared I don’t think I would ever think of for in the convent. So that was it, I accepted it and anything but being a nurse. I went. It was fearful for a five-year-old girl to be separated from her mother. But somehow, you Eventually in 2000 I was made to run the grow up very fast. paediatric ward, which included the oncology Portraits of Teo Khai Seng, who now owns nine fish farms. ward. It was filled with children who had cancer. The training that I have, and the Courtesy of Vinson Phua. Even up to today, if there is a patient with experience, helps me to help other cancer, adult or child, because of my experience, people. I’ve been there; I know and it is easy to say to them “I understand”. I understand. Teo Khai Seng

Age 56 Owns a fish farm in (His ninth farm so far)

I dropped out of school when I was 11. We were poor and had problems buying uniforms and text- books. The teachers were fierce towards me as I was dyslexic. I ended up playing truant frequently. As a result, I never learnt to read. That same year I ran away from home and worked as a child labourer in a plastic factory. I worked from 8am to 10pm every day, with one day’s break a month so that I could bring my salary home. I earned $40 a month – twice the amount my father would have earned back then. When I was 21, I decided to go into fish farming. When I started, I rented a small plot of I thought, “I’m young and supposed land in . My farm’s output was small, so to be a pillar of society, but there I had to work as a butcher and an insect catcher I am, unable to read a simple thing to continue with my passion for fish rearing. like a street sign!” When the government reclaimed the land used by my fish farm, the Singapore Land Authority From then on, I strove to learn all the words (SLA) compensated me a few thousand dollars. I came across. I started with novels, but moved I remember I had to collect the cheque from on to Chinese history books to learn more rare the SLA office in Shenton Way. When I arrived and difficult words. I also read the subtitles on TV I was desperate to find a toilet but could not find programmes to learn new words. one as I could not read the signs. After collecting I have been through a lot of difficulties in A video still of Helena Maheson. Hers the cheque I spent hours looking for my car, again life, especially challenges in fish farming, but I is one of the narratives that will be because I was illiterate. do not give up easily. I never felt life was hard as featured in the form of a video clip. This incident hit me very hard. I felt like an I began with nothing. As long as one does not give alien in my own country. up easily, one can overcome anything.

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It was quite common for such things to happen then. Many families were torn apart, like mine. We drifted from one place to another.

When I was 13, I came to Singapore to look for work. I remembered I could only afford a loaf of bread which cost 10 cents then, and I would have that with tap water every day for two months. I finally found a job serving coffee in a Hainanese coffee shop. They provided me with food and lodging, and I was paid more than $10 a month. Later, I went to work at a worksite building – the Ulu Tiram army camp in Johor Bahru. In those days, we would have to manually load or unload the soil, sand, or wood. It was physically exhausting. I did this for a few years, travelling in and out of Singapore every day. In 1957, I applied for Singapore citizenship;1 Chew Chiang Tong from then on I moved from job to job to make a living. I was a motorcycle repairman, a cleaner, and Age 80 when jobs were scarce in Singapore in the 1960s, Retired crane operator I worked as a waiter, and even as a timber logger in Terengganu (Malaysia). My mother passed away when I was seven. At the I learnt to operate a crane while working at time, my father was running a coffee shop, and my a shipyard in Jurong. I was soon promoted to a third sister was helping him. foreman in 1978. We worked 44 hours a week and I remember during the Malayan Emergency would even be paid overtime if we exceeded them! we lived in Johor Bahru and I was in primary three. There were also other benefits my previous jobs did The Malayan Communist Party was creating havoc; not afford me, such as annual and medical leave. they were very ruthless back then. One night, while I retired in 2000 and nowadays I volunteer twice having dinner with my family, three men rushed a week at the Resident Committee's karaoke as a in and shot my sister point blank. karaoke jockey; I love to sing. I also help the folks at I witnessed my sister being shot three times the elderly centre nearby with their outings. I even in her head. She was 21, and for some reason the jog for 30 minutes with my wife every morning to Communist Party thought she was a spy. keep fit! Although you may think I’ve had a hard life, I can never forget that scene and I have hated I’ve never dwelled on the past. It’s best just to live them ever since. life to the fullest. You only live once right?

Portrait of Chew Chiang Tong. Courtesy of Vinson Phua.

Note

1 Registration for new Singaporean citizens began with the Citizenship Ordinance in November of 1957, eight years before the formation of the Independent Republic in 1965. Residents who had lived in Singapore for at least eight years were eligible to apply.

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