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Social Construction of Singapore's Humor Industry
Intercultural Communication Studies XIX: 1 2010 Lin & Tan How Cultural and Linguistic Pluralism Shape Humor: Social Construction of Singapore’s Humor Industry Trisha T. C. Lin & Phoebe Shu Wei Tan, Nanyang Technological University This study views Singapore’s humor industry through the theoretic lenses of social construction. It aims to examine the unique characteristics of Singapore humor and investigate how Singapore’s rojak culture (Chua, 1998) and social actors (content creator, market/audience, and government/policy) have shaped the trajectory of the humor industry. Data were collected through interviews with TV comedy producers, stand-up comedians, and theatre practitioners, as well as through three-month-long observation of local comedy scenes. Thematic data analysis (Miles & Huberman, 1994) was used to analyze transcribed interviews, observational field notes, and second-hand documents. The findings show Singapore humor is characterized by over-the-top visuals, frequent use of “Singlish” and Chinese dialects, satires of current affairs, and influences from western culture. The fear of failure, mianzi (Hwang, Francesco & Kessler, 2003), is Singapore’s cultural trait that hinders the development of Singapore’s humor industry. Its humor content creation relies on a formulaic approach, in order to cater for the perceived needs of mainstream audiences. Moreover, the content censorship, which serves as a crucial means to maintain order and harmony in this multicultural and multiracial society, still restricts creativity in humor creation and partially accounts for the lackadaisical Singapore humor industry. Humor is an innately complicated social phenomenon which can be found universally in all cultures, and plays a central, necessary part in social life (Billig, 2005). -
08/09 Annual Report
08/09 ANNUAL REPORT 510 Thomson Road #12-05/06 SLF Building Singapore 298136 Tel: (65) 6354 8154 Fax: (65) 6258 3161 Email: [email protected] Website: www.ncpg.org.sg About the National Council on Problem Gambling The National Council on Problem Gambling (NCPG) is an independent council comprising 20 members with expertise and experience in public CONTENT communications and media, psychiatry and psychology, and counselling and legal services. Its terms of references are to: • Provide advice and feedback to the Ministry of Community Development, Youth and Sports (MCYS) on public education programmes to promote public awareness on Section problem gambling. Chairman’s Message 01 • Decide on funding applications 01 for preventive and rehabilitative programmes. Section • Assess and advise the The NCPG at a Glance 03 Government on the 02 effectiveness of treatment, counselling and rehabilitative Section programmes. Key Milestones 07 • Decide on the applications for exclusion of persons 03 from casinos. Section 04 Year in Review 12 Section 05 Looking Ahead 19 Section 06 Annexes 21 SECTION 1 Several public consultation exercises were conducted to seek public and stakeholders’ views on the casino exclusion measures. The Casino Control (Problem Gambling – Chairman’s Message Exclusion Orders) Rules 2008 was gazetted in December 2008 and the Family Casino Exclusion was implemented in April 2009. Casino Self Exclusion and the Third-Party Casino Exclusion on undischarged bankrupts and recipients of Public Assistance and Special Grant will be implemented by end 2009. This year, we welcomed practitioners from the social, community and education sectors once more at the second Singapore Problem Gambling Conference held in August. -
MEDIA FACTSHEET (15 Mar 2013) Singapore Unveils 320 Hours of Comedies, Entertainment Programmes and Documentaries at Hong Kong I
MEDIA FACTSHEET (15 Mar 2013) Singapore unveils 320 hours of comedies, entertainment programmes and documentaries at Hong Kong International Film & TV Market (FILMART) The Media Development Authority of Singapore (MDA) will lead 37 Singapore media companies to the 17th edition of the Hong Kong International Film & TV Market (FILMART) where they will meet with producers, distributors and investors to promote their content, negotiate deals and network with key industry players from 18 to 21 March 2013. More than 320 hours of locally-produced content including films and TV programmes will be showcased at the 90-square-metre Singapore Pavilion at the Hong Kong Convention & Exhibition Centre (booth 1A-D01, Hong Kong Convention & Exhibition Centre Level 1, Hall 1A). The content line-up includes recent locally-released film comedies Ah Boys to Men and Ah Boys to Men 2, about recruits in the Singapore military directed by prolific Singapore director Jack Neo; Taxi! Taxi!, inspired by a true story of a retrenched microbiology scientist who turns to taxi driving; Red Numbers by first-time director Dominic Ow about a guy who has three lucky minutes in his miserable life according to a Chinese geomancer; and The Wedding Diary II, the sequel to The Wedding Diary, which depicts life after marriage. Also on show are new entertaining lifestyle TV programmes, from New York Festivals nominee Signature, a TV series featuring world-renowned architect Moshe Safdie and singer Stacey Kent; reality-style lifestyle series Threesome covering topics with Asian TV celebrities Utt, Sonia Couling and Nadya Hutagalung; to light-hearted infotainment décor home makeover show Project Dream Home and Style: Check-in, an interactive 360 content fashion lifestyle programme which uses social media to interact with viewers. -
Cinémathèque Quarterly Vol. 2: April June 2017
Cinémathèque Quarterly Vol. 2: April_June 2017 About National Museum of Singapore Cinematheque The National Museum of Singapore Cinematheque Contents focuses on the presentation of film in its historical, cultural and aesthetic contexts, with a strong emphasis on local and regional cinema. Housed in the museum's 247-seat Gallery Theatre, the National Museum of 4 Editorial Note Singapore Cinematheque offers new perspectives on film through a year-round series of screenings, thematic showcases, and retrospectives. 5 Feedback Mechanisms: On Film and The City Design: Studio Vanessa Ban, assisted by Kong Wen Da Printer: First Printers, Singapore 24 “To Each His or Her Own Ambition”: A Concise Distributed by the National Museum of Singapore History of the Chong Gay Organisation in Singapore NMS: Wong Hong Suen, Kathleen Ditzig, Hannah Yeo Stephanie Yeo, Olivia Lim 38 5 × 5: Alex Oh × Rennie Gomez © 2017 National Museum of Singapore All rights reserved Published in Singapore by 44 Young Critic’s Pick — Review of Kelvin Tong's National Museum of Singapore, an institution of National Heritage Board. Grandma Positioning System by Mary Ann Lim The views and positions expressed in this publication are those of the authors only and are not representative 46 Young Critic’s Pick — Review of Jack Neo's of the editorial committee or publisher. The National Museum of Singapore shall not be held liable for any The Girl and Boo Junfeng's Parting: Nostalgia and damages, disputes, loss, injury or inconvenience arising in connection with the contents of this publication. Space in Singapore by Ho Xiu Lun 2 All rights reserved. -
Moneyisn't Everything
16 發光的城市 A R O U N D T O W N FRIDAY, MAY 8, 2009 • TAIPEI TIMES OTHER RELEASES COMPILED BY MARTIN WILLIAms Trail of the Panda (貓熊團圓路) Here’s another panda movie, this time from isn’t everything China. An orphan (naturally) finds that a Money cute panda cub is his only true friend, and this leads to the pair traipsing alone through the lovely, but dangerous, Sichuan countryside. For the Taiwan release, distributor Buena Vista International, a Disney company, has changed the Chinese title from “panda on the road home” to “panda on the road to reunion” in a pun on the names of the Taipei Zoo pandas. Walt Disney, who was famously anti- communist, would surely have been aghast. Also known as Touch of the Panda — and perhaps Curse of the Panda to independence activists. Kung Fu Chefs (功夫廚神) Legendary Hong Kong writer-director-actor- martial artist Sammo Hung (洪金寶) provides desperately needed backbone to this otherwise derivative action comedy from China. Hung’s disgraced chef takes on a young pup (Vanness Wu, 吳建豪) as an apprentice and the pair battle thugs and rival chefs before a cooking competition brings the episode to a close. But for one extended Hung may acquit himself in this retread, but fans would family it comes pretty really be better off watching an old copy of Pedicab Driver. close. Closer, even, than the ties that bind The Accidental Husband Agony aunt of the New York airwaves Uma BY HO YI Thurman is married — not STAFF REPORTER so happily — to publisher Colin Firth. -
Transom Review: Parachute Radio in Singapore
the transom review June, 2002 Vol. 2/Issue 5 Parachute Radio “My Singapore Sling” By Christopher Lydon Copyright 2002 Atlantic Public Media Transom Review – Vol.2/ Issue 5 Singapore is the meeting place of many races. The Malays, though natives of the soil, dwell uneasily in towns, and are few; and it is the Chinese, supple, alert and industrious, who throng the streets; the dark-skinned Tamils walk on their silent, naked feet, as though they were but brief sojourners in a strange land, but the Bengalis, sleek and prosperous, are easy in their surroundings, and self-assured; the sly and obsequious Japanese seem busy with pressing and secret affairs; and the English in their topees and white ducks, speeding past in motor-cars or at leisure in their rickshaws, wear a nonchalant and careless air. The rulers of these teeming peoples take their authority with a smiling unconcern. Singapore in the 1920s, observed in W. Somerset Maugham’s story “P. & O.” Singapore stop yelling and calling me names. How dare you call me a chauvinist, an opposition party, a liar, a traitor, a mendicant professor, a Marxist homosexual communist pornography banned literature chewing gum liberty smuggler? How can you say I do not believe in the Free Press autopsies flogging mudslinging bankruptcy which are the five pillars of Justice? And how can you call yourself a country, you terrible hallucination of highways and cranes and condominiums ten minutes’ drive from the MRT? From “Singapore You Are Not My Country,” by the Malay-Singaporean medical student and acclaimed poet Alfian Sa’at A talk show in Singapore is a bit of a contradiction in terms—a clash of cultures, as I was accurately forewarned. -
Hybridity in Singaporean Cinema: Othering the Self Through Diaspora and Language Policies in Ilo Ilo and Letters from the South
FM4204: Time, Space and the Visceral in South East Asian Cinema Hybridity in Singaporean Cinema: Othering the Self through Diaspora and Language Policies in Ilo Ilo and Letters from the South Student Name: Amanda Curdt-Christiansen Matriculation Number: 140008304 Module Tutor: Dr Philippa Lovatt Date: 21/05/18 Word Count: 3849 FM4204 140008304 爸妈不在家/Ilo Ilo is a Singaporean film directed by Anthony Chen and released in 2013. It recounts the unanticipated development of a relationship between a Filipina woman, Teresa, and a Chinese-Singaporean boy, Jiale, whom she is employed to look after. The story unfurls against the backdrop of the Asian financial crisis of 1997, showcasing the struggle of a very young country in maintaining its core values, its independence, and its dignity in the face of economic disaster. 南方来信/Letters from the South is comprised of six short films from Malaysia, Singapore, Thailand and Myanmar, released in 2013. Of these, I will be focusing on Sun Koh’s film, Singapore Panda, which examines tensions between national and cultural identity in the Chinese diaspora in Singapore. This essay will aim to explicate how diasporic communities maintain (or fail to maintain) their cultural identity in Singaporean cinema. Using Ilo Ilo and Singapore Panda as a starting point, I will unpack how divergent cultural backgrounds colour the style of popular Singaporean films, particularly in their treatment of space. I will begin by providing a contextualisation of the films in terms of the Singaporean political climate: language policy, post-colonial policy, and how these contribute to conflict between the nation and the self. -
FLM201 Film Genre: Understanding Types of Film (Study Guide)
Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode................................................................................................... -
Edinburgh Research Explorer
Edinburgh Research Explorer Conflicts between world Englishes Citation for published version: Wan, TLA & Cowie, C 2021, 'Conflicts between world Englishes: Online metalinguistic discourse about Singapore Colloquial English', English World-Wide, vol. 42, no. 1, pp. 85-110. https://doi.org/10.1075/eww.00061.wan Digital Object Identifier (DOI): 10.1075/eww.00061.wan Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: English World-Wide Publisher Rights Statement: © John Benjamins Publishing Company. For permission to re-use or reprint the material in any form, please contact the publisher: https://benjamins.com/downloads/permissionsform.pdf General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 Conflicts between World Englishes: Online Metalinguistic Discourse about Singapore Colloquial English Tsung-Lun Alan Wan and Claire Cowie University of Edinburgh Abstract Negative attitudes of non-Singaporeans towards Singapore Colloquial English (SCE) are often used to support the Speak Good English Movement in Singapore. This article examines spontaneous metalinguistic discourse about SCE in an online Facebook group where Taiwanese migrants in Singapore gather for mutual support. -
Focus 2016 World Film Market Trends Tendances Du Marché Mondial Du Lm Pages Pub Int Focus 2010:Pub Focus 29/04/10 10:54 Page 1
FOCUS WORLD FILM MARKET TRENDS TENDANCES DU MARCHÉ MONDIAL DU FILM 2016_ focus 2016 World Film Market Trends Tendances du marché mondial du lm Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page 1 ISSN: 1962-4530 Lay-out: Acom*Europe | © 2011, Marché du Film | Printed: Global Rouge, Les Deux-Ponts Imprimé sur papier labélisé issu de forêts gérées durablement. Imprimé sur papier labelisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests. Printed on paper from sustainably managed forests. 2 Editors Martin Kanzler ([email protected]) Julio Talavera Milla ([email protected]) Film Analysts, Department for Information on Markets and Financing, European Audiovisual Observatory Editorial assistants, LUMIERE Database Laura Ene, Valérie Haessig, Gabriela Karandzhulova Lay-out: Acom* Europe © 2016, Marché du Film Printed: Global Rouge, Les Deux-Ponts 2 Editorial As a publication of the Marché du Film, FOCUS FOCUS, une publication du Marché du Film, sera will be an essential reference for professional une référence incontournable pour tous les partici- attendees this year. Not only will it help you grasp pants professionnels cette année. Elle vous aidera the changing practices of the film industry, but it non seulement à appréhender les pratiques en con- also provides specific information on production stante évolution de l’industrie cinématographique, and distribution around the world. mais elle vous informera également de manière plus spécifique sur les secteurs de la production Once again, we are glad to collaborate with et de la distribution dans le monde entier. Susanne Nikoltchev and her team. With this part- nership, we aim to provide you with valuable Nous avons le plaisir de collaborer de nouveau insight into the world of film market trends. -
APPENDIX B Information on the Singapore Booth at the Marché Du
APPENDIX B Information on the Singapore Booth at the Marché du Film, Cannes The Singapore film community is represented at the Marché du Film in Cannes, where the Singapore booth is located within the Film ASEAN Pavilion on the riviera (number 117, Village International). Village International at the Marché du Film is the annual forum for world cinema. Information on part of the Singapore delegation/companies at 69th Cannes Film Festival Company Contact Akanga Film Asia Fran Borgia Akanga is the film company behind the two Singapore films [email protected] (Apprentice, A Yellow Bird), selected for the Cannes Film www.akangafilm.com Festival 2016. Akanga Film Asia is an independent production company created in 2005 in Singapore to produce quality films by the new generation of Asian filmmakers. Our projects aim to create a cultural link between Asia and the rest of the world. Titles produced by Akanga include Ho Tzu Nyen’s Here (Cannes Directors’ Fortnight 2009), Boo Junfeng’s Sandcastle (Cannes Critics’ Week 2010), Vladimir Todorovic’s Disappearing Landscape (Rotterdam 2013), Christine Molloy & Joe Lawlor’s Mister John (Edinburgh 2013), Lav Diaz’s A Lullaby To The Sorrowful Mystery (Berlin Competition 2016 – Silver Bear Alfred Bauer Prize), Boo Junfeng’s Apprentice (Cannes Un Certain Regard 2016) and K. Rajagopal’s A Yellow Bird (Cannes Critics’ Week 2016). Clover Films Lim Teck Clover Films Pte Ltd was established in 2009 and [email protected] specialises in the distribution and production of Asian http://www.cloverfilms.com.sg/ movies, with an emphasis on the Singapore and Malaysia markets. -
Film & Media Studies
NGEE ANN POLY 2021 SCHOOL OF FILM & MEDIA STUDIES Film, Sound & Video Mass Communication Media Post- Production xplore xcite xcel School of Your heart’s set on a career in the film or media business. You Film & Media Studies desire to tell the stories that go unheard. You have the passion to make a difference where it matters. All you need is the head 7 Film, Sound & Video (N82) start to take you places. Begin your journey at Singapore’s first and most established film and media school. 11 Mass Communication (N67) 15 Media Post-Production (N13) Want to know what our FMS STORIES– students are capable of THE ONES YOU TELL, creating? Check out some of their outstanding student AND THE ONES THAT SELL projects here: At Ngee Ann Polytechnic’s School of Film & Media Studies (FMS), you learn to tell and sell these stories well. As future filmmakers and media professionals, our Film, Sound & Video (FSV), Mass Communication (MCM) and Media Post-Production (MPP) students learn to craft stories and produce content that are original, compelling and thought-provoking. There is no better way to engage with a global audience that is being bombarded with ever more choices of information, education and entertainment. It’s a tall order, but this is the story of Singapore’s most established film and media school. The FMS faculty is lauded for creating innovative platforms for realistic learning, industry mentorship, entrepreneurship and service learning. With its well-equipped studio and soundstage spaces, you can expect a top-notch learning environment that inspires industry-standard works.