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Singaporean Film Industry in Transition:Looking for a Creative Edge

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Caroline Wong SINGAPOREAN FILM INDUSTRY IN TRANSITION:LOOKING FOR A CREATIVE EDGE e nature and role of intangible resources that shape an uncertain and changing environment such as the film industry ,LAP� L AMBER � Academic PublishingT Caroline Wong SINGAPOREAN FILM INDUSTRY IN TRANSITION:LOOKING FOR A CREATIVE EDGE l Caroline Wong SINGAPOREAN FILM INDUSTRY IN TRANSITION:LOOKING FOR A CREATIVE EDGE The nature and role of intangible resources that shape an uncertain and changing environment such as the film industry LAP LAMBERT Academic Publishing lmpressum/lmprint (nur flir Deutschland/ only for Germany) Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Oaten sind im Internet Ober http://dnb.d-nb.de abrufbar. Alie in diesem Buch genannten Marken und Produktnamen unterliegen warenzeichen-, marken­ oder patentrechtlichem Schutz bzw. sind Warenzeichen oder eingetragene Warenzeichen der jeweiligen lnhaber. Die Wiedergabe von Marken, Produktnamen, Gebrauchsnamen, Handelsnamen, Warenbezeichnungen u.s.w. in diesem Werk berechtigt auch ohne besondere Kennzeichnung nicht zu der Annahme, dass solche Namen im Sinne der Warenzeichen- und Markenschutzgesetzgebung als frei zu betrachten waren und daher von jedermann benutzt werden durften. • Coverbild: www.ingimage.com Verlag: LAP LAMBERT Academic Publishing AG & Co. KG Dudweiler Landstr. 99, 66123 Saarbrucken, Deutschland Telefon +49 681 3720-310, Telefax +49 681 3720-3109 Email: [email protected] Herstellung in Deutschland: Schaltungsdienst Lange o.H.G., Berlin Books on Demand GmbH, Norderstedt Reha GmbH, Saarbrucken Amazon Distribution GmbH, Leipzig ISBN: 978-3-8383-6193-2 Imprint (only for USA, GB) Bibliographic information published by the Deutsche Nationalbibliothek: The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. Any brand names and product names mentioned in this book are subject to trademark, brand or patent protection and are trademarks or registered trademarks of their respective holders. The use of brand names, product names, common names, trade names, product descriptions etc. even without a particular marking in this works is in no way to be construed to mean that such names may be regarded as unrestricted in respect of trademark and brand protection legislation and could thus be used by anyone. Cover image: www.ingimage.com Publisher: LAP LAMBERT Academic Publishing AG & Co. KG Dudweiler Landstr. 99, 66123 Saarbrucken, Germany Phone +49 681 3720-310, Fax +49 681 3720-3109 Email: [email protected] Printed in the U.S.A. Printed in the U.K. by (see last page) ISBN: 978-3-8383-6193-2 Copyright© 201 Oby the author and LAP LAMBERT Academic Publishing AG & Co. KG and licensors All rights reserved. Saarbrucken 201 O CONTENTS Ab strac t Fi gu res Tab les Ab breviations CHAPTER I INTRODUC TIO N I.I Si ng ap ore : From Tech nologic al Hu b to RegionalMe di a Hu b 1.2 Si ng ap oreanCi nema: Th en and Now Mu lticu lturalCi nema inSi ng ap ore : 1920s-1940 s Th e Golde n Age of Ci nema: 1950 s-1960s The Slu mb er: 1970 s- 1980 s From Su rvival to Re vival: 1990s-2007 1.3 Formu la forSu cce ss 1.4 Doing More wi th Le ss 1.5 Re search Que stions 1.6 Re search Sc op e and Focu s 1.7 Re search Me th odology 1.8 Contribution of thi s Re search 1.9 Ch ap terOu tli ne 1.10 Conc lu sion CHAPTER 2 LITERATURE REVIEW 2. 1 Introduc tion 2.2 Inta ngib le Comp etencie s Resource -Ba sedView (RBV) Dy na mic Cap abi lityPe rspec tive (DC P) Knowl e dge -BasedVi ew (KBV) 2.3 Ch arac teristi cs of the Fi lm Indu stry 2.4 Creative Processes 2.5 Creative Indu strie s 2.6 Gl obal Fi lm Indu stry Th e IndianFi lm Indu stry The Sou th KoreanFi l m Indu stry Th e Hong Kong Film Indu stry How Si ng ap ore Fi ts into th e Film Equation 2.7 Di gi tal Te ch nologie s and the Fi lm Indu stry 2.8 Conc lu si on CHAPTER 3 SINGAPOR E: DEVELO PM ENT, CHALL ENGES AND PR OJEC TIONS 3.1 Si ngap ore 's De velopmental Model 3.2 Pu blic Policy and Creative Indu strie s 3.3 Cu ltural Policie s and the Fi lm Indu stry 3.4 Si ng ap oreanCi ne ma and its Challe nge s Ce nsorship The Korean Expe rience 3.5 Co-Produc tions: The Way Forwa rd for the Fi lm Indu stry US-Singap ore FTA New-Zeala nd-Singap ore Ag reement Sou th Korea-Singap ore MO U Ge rma ny-Singap ore Agreement Au stralia-Singap ore MO U Ne therla nds-Singap ore Coop eration Fra nce-Singap ore MO U Ita ly-Singap ore Agreement China-Si ng ap ore MO U Indone si a-Singap ore MO U Malay sia-Si ng ap ore MO U 3.6 Co-produc tions: a Doub le-Edge d Sw ord 3.7 Other Prospec ts: Di gi ta l Te chnology and the Fi lm Indu stry 3.8 Conc lu si on CHAPTER 4 RESEARC H DESIGN AND METHODOLOGIES 4.1 Introduc tion 4.2 Why a Case Stu dy ? 4.3 Pre liminary Stu di es 4.4 Te st Que stions 4.5 Qu alitative Re search Stu dy Sa mpling ii Interview Stra tegy and Process Case Study Da tab ase 4. 6 Re search Ethic s 4.7 Data Ana lysis Process and Procedures Tools for Ana lysis - APOLLO and NV ivo Data Analy sis Procedu re 4.8 Limita tions of the Me th odology 4.9 Conc lu sion CHAPTER 5 FIND INGS AND ANALYS IS 5.1 Introduc tion 5.2 Re searchQue stion1: Wh at are the Aspi rations of Sing ap ore and its Cu ltu ral Policies in the La ndscape of Fil m Su ccess? Fina ncialSu pp or t Content De velop me nt and Local Id enti ty Ec ology of Creativity Knowled ge Brokering 5.3 Re searchQue stion 2: How Si gnificant are Inta ng ible Fac tors in Si ng ap ore 's Aspi ration for Su ccess in the Film Indu stry? Repu ta tion Expe rie nc e Creativity Creativity and Ce nsorship Clu ste ring 5.4 Re search Que stion 2.1: Wha t are the Ind ic ators for Su ccess in Singap ore's Film Indu stry ? How can the Sing aporeanFilm Indu stry Pe rf orm Be tter? Bu sine ss and Ma na ge rial Skills Marketing Di stribu tion Collab orations and Co-Produc tion 5.5 Re searchQue stion 3: Wha t is the Role of Dig ita l Te chnology inSh ap ing the Film Indu stry in Singap ore ? Wh at are the Implic ations of Digita l Fi lms for Singap ore in its Tra nsition to a Creative Ec onomy ? Impact of Di gital Te chnology on the Si ng aporeanFilm Indu stry iii _J Caveats Bu siness Asp ects of Filmma king Dig ita l Tech nology as an Enab ler 5.6 Conclu sion CHAPTER6 DISC USSIO N AND CO NTRIBUTIO NS 6.1 Intr odu ction 6.2 Knowled ge-Ba sed Comp etencies and th eir Impact on th e Film Indu stry 6.3 Pr opositions 6.4 Dig ita l Tech nologi es and th eir Impact on th e Film Indu stry 6.5 Str ategi c Bu siness Pla nning and its Impact on th e Fi lm Indu stry 6.6 Contribu tions 6.7 Conclu si on CHAPTER7 LIMITATIO NS AND CO NC LUSIO NS 7.1 Introdu ction 7.2 Limi ta tions 7.3 Conclu si on Under standing th e Rea l Assets of th e Modern Economy Understanding th e Ti es th at Bind Under standing th e Level of Commi tment and Su pp or t for th e Indu stry Understa nding th e Yi n and Ya ng of th e Creative Indu str ies Ach ieving Bala nce - Chaos with in Gu id elines 7 .4 Imp lications forFu ture Resea rch REFERENC ES APPENDIC ES iv ABSTRACT In the last two decades, despite much scholarly research devoted to film production, marketing, consumer behaviour and industry structure, very little attention has been accorded to factors that drive success in experiential products. Creativity, experience and reputation are central to the study of organisations. This thesis identifies the nature and role of such intangible resources which are likely to contribute most in the uncertain and changing environment that shapes the film industry in Singapore. By determining the types of intangible resources, that enable the film industry to thrive, this research provides a valuable insight into the creative industries in an age when technological developments are integral to all stages of the value chain. The thesis explores issues relating to competencies, policies and technology. It adopts a knowledge-based perspective, arguing that tacit knowledge often forms the basis of dynamic capabilities. Within the film industry, it is not uncommon that 1 production houses share tacit knowledge and ideas with one another so that they can build on their accumulated memories and experiences. Singapore was chosen as the subject of the analysis for two reasons. First, a great deal of government attention is currently being directed to the film industry there.
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  • The Revival of Singaporean Cinema 1995–2014

    The Revival of Singaporean Cinema 1995–2014

    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, Run Run Shaw, co-founder in draws parallels between the life of a busi- Mee Pok Man 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.