Cinderel-Lah! Is Back… Revamped and Upsized for the Esp-Lah-Nade!!
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Singapore Go
TAIPEIHONGKONGNGVANCOUV SHANGHAIBEIJINGSINGAPO TOKYOSINGAPORETOKYO WASHINGTONTAIPEIBEIJING HONGKONGSEOULLVANCOUVER HONGKONG TOKYO VANCOUVERSINGAPOREGO TAIPEI HONGKONGBEIJINGSHANGHAI TAIPEISINGAPOREHONGK VANCOUVERHONGKONG SHANGHAI SINGAPORE HONGKONGSEOULS LTOKYOYO VANCOUVER SHANGHAISINGAPOREESHANGHAI SEOULLSINGAPORESEOUL WASHINGTONTAIPEIHONGKONG HONGKONG SEOULLVANCOUVERTOKYO SHANGHAIHONGKONGTAIPEI SINGAPORE 2017 Raffles City 28 July to 21 August 2017 TTXS AROUND THE WORLD Ann Arbor, Beijing, Chicago, Daegu, Fukuoka, Fukushima, Hangzhou, Hong Kong, Los Angeles, Mexico City, 2007 2008 EXIT Festival and the Shanghai: Tian Tian Tian Tian Xiang Shang Tian Tian Xiang Shang VIA Festival Xiang Shang – Hong Exhibition in Singapore at Novel Hall Lane, Kong Creativity Taipei Exhibition cum Seminar 2012-2013 Cross Boundary – "Hong Kong + Japan: Tian Tian Xiang Beijing Design Week Art Lab of Museum Crossing Partnership in Shang: Creativity- 2013 – New Generation of Contemporary Art, Creativity" project – for-Community and Design Exhibition Shanghai "Tian Tian Xiang Shang" School Development statue exhibition-cum- Programme workshop 2016-2017 Tian Tian Xiang Shang Tian Tian Xiang Shang Workshop in Vancouver Tian Tian Fa Pau iSQUARE Exhibition Blank Boy Canvas Singapore Public Arts Exhibition Series Milan, Nanjing, Paris, San Francisco, Shanghai, Singapore, Taipei, Tokyo, Toronto, Vancouver, Washington D.C. 2010 2011 Hong Kong: Creative Tian Tian Xiang Shang International Children’s TTXS – Soliloquies and Ecologies – Business, Conceptual Comics Festival -
VIJAY CHANDRAN EMILY LOW (Left) Chairman, Films Consultative Panel Chairperson, Tanjong Katong Secondary School Parent Support Group
a 1 CONTENTS Mission, Vision and Values 10 Chairman’s Message 12 Board of Directors 16 Senior Management 20 Chapter ONE 24 World Class Media Cluster Chapter TWO 46 Consumer Protection and Empowerment Chapter THREE 52 Cohesive and Inclusive Society Chapter FOUR 62 Engaging Employees and the Community MDA Advisory Committees 66 Annex & Tables 86 Financial Statements 91 3 ANURAG SRIVASTAVA LESLIE LEE Co-Founder, One Animation Pte Ltd Director of Programming, The Walt Disney Company (Southeast Asia) Singapore is increasingly recognised as a producer of world- As a Singaporean and industry professional, I am class animation and owner of compelling content. With the excited by the initiatives developed to foster creativity industry and government working together, we’ll continue to and innovation. I’m looking forward to seeing more see amazing growth in the Singapore media sector. exciting content being made in Singapore. 5 MOHD RAZIF ANSARI CHEW RUI QI Teacher, Rivervale Primary School Student, Rivervale Primary School We’ll need to keep up with the latest trends and issues I learnt a lot from the cyber wellness activities to be able to better promote cyber wellness among in school. I gained better knowledge of issues our students. Cyber wellness campaigns, like the one such as cyber safety, netiquette, online privacy, we had last year with MDA, are certainly useful. games addiction and more. 7 VIJAY CHANDRAN EMILY LOW (left) Chairman, Films Consultative Panel Chairperson, Tanjong Katong Secondary School Parent Support Group LO YILING (right) The Films Consultative Panel is made up of members from all walks Member, Tanjong Katong Secondary School Parent Support Group of life. -
Dick Lee ( 李 迪 文): Creating Endless Opportunities by Perera, Loretta Marie and Perera, Audrey Written in 2010 National Library Board, Singapore
ARTICLE Dick Lee ( 李 迪 文): Creating Endless Opportunities by Perera, Loretta Marie and Perera, Audrey written in 2010 National Library Board, Singapore His name appears on many lists of ‘firsts’, but perhaps the most significant of them all was being the first Singapore-born musician to inject a local identity into his original music, by tapping on the influences which shaped his life. He has composed music and songs for the biggest names in Chinese music, clinched two HK Film Academy Awards for movie soundtracks, had an album go platinum in Singapore alone, pushed for a Singapore identity long before it became fashionable, and created music for the first and most successful Singapore musicals. Dick Lee is without a doubt one of Singapore’s most recognised and renowned music personalities, a singer, songwriter, composer, and playwright; an artiste who has contributed in no small measure to the development of original music in Singapore. The eldest of five children, Richard Lee Peng Boon was born on August 24, 1956. He grew up to the tunes of his father’s jazz and big band favourites, and his mother’s favourite pop music. “My earliest influence was the music of the 1960s which was playing in my home. Dad loved big band, jazz, crooners, and keroncong , while my mother, in her 20s at that time, loved contemporary Western and Chinese pop music. She loved to dance, and was the original ‘party girl’. The regular dance parties we had at home happened because of her, as was my interest in fashion.” “I grew up understanding contemporary music and was being given wide exposure to it. -
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. -
Learning Through Collaboration and Co-Production in the Singapore Film Industry : Opportunities for Development
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Wong, Caroline & Matthews, Judith (2009) Learning through collaboration and co-production in the Singapore film in- dustry: opportunities for development. In Rose, E & Fisher, G (Eds.) ANZIBA: The Future of Asia-Pacific Business- Beyond the Crisis. ANZIBA, CD Rom, pp. 1-25. This file was downloaded from: https://eprints.qut.edu.au/27761/ c Copyright 2009 please contact the authors This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// www.anziba.org/ conf.html QUT Digital Repository: http://eprints.qut.edu.au/ Wong, Caroline and Matthews, Judy H. -
新加坡华族之多元性国际会议 Diversity and Singapore Ethnic Chinese Communities International Conference
新 加 坡 华 族 之 多 元 新加坡 性 国 际 华族之多元性 会 议 论 国际会议论文集 文 集 ETHNIC CHINESE COMMUNITIES DIVERSITY AND SINGAPORE DIVERSITY AND SINGAPORE ETHNIC CHINESE COMMUNITIES INTERNATIONAL CONFERENCE INTERNATIONAL CONFERENCE Edited by Koh Khee Heong Ong Chang Woei Phua Chiew Pheng Chong Ja Ian Yang Yan ISBN 978-981-14-5149-2 新加坡 华族之多元性 国际会议论文集 DIVERSITY AND SINGAPORE ETHNIC CHINESE COMMUNITIES INTERNATIONAL CONFERENCE Edited by Koh Khee Heong Ong Chang Woei Phua Chiew Pheng Chong Ja Ian Yang Yan Copyright © Singapore Chinese Cultural Centre and Department of Chinese Studies, National University of Singapore, 2020 Published by City Book Room 420 North Bridge Road #03-10 North Bridge Centre Singapore 188727 Email: [email protected] ISBN: 978-981-14-4998-7 (paper) ISBN: 978-981-14-5149-2 (e-book) All rights reserved. No part of the publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, without the prior written permission of the publishers of this book. Cover design and layout by Ho Siew Yuen Printed by Ho Printing, Singapore National Library Board, Singapore Cataloguing in Publication Data Name(s): Diversity and Singapore Ethnic Chinese Communities International Conference (1st: 2019: Singapore) | Koh, Khee Heong, editor. | Ong, Chang Woei, 1970- editor. | Phua, Chiew Pheng, editor. | Chong, Ja Ian, editor. | Yang, Yan, editor. Title: Diversity and Singapore ethnic Chinese Communities International Conference = Xinjiapo hua zu zhi duo yuan xing guo ji hui yi lun wen ji / edited by Koh Khee Heong, Ong Chang Woei, Phua Chiew Pheng, Chong Ja Ian, Yang Yan. -
News Release for Immediate Release
News Release For Immediate Release Towards a more educated, empowered and discerning media consumer Media Fiesta, a month-long media campaign for all Singaporeans Singapore, 3 March 2011 – Singaporeans from all segments of society, young and old, can now learn how they can become more savvy and discerning in the way they consume media. Media Fiesta 2011, the third edition of a month-long festival offering interactive media activities, experiential games and a showcase of local talent and media offerings, kicked off today at *SCAPE. Themed “Celebrate and Discover Media”, Media Fiesta 2011 will bring Singaporeans on an exploratory journey into the highly-dynamic world of media. Mr Lui Tuck Yew, Minister for Information, Communications and the Arts (MICA), was the Guest-of-Honour at the launch. Media Fiesta 2011 is hosted by the Media Development Authority (MDA) and organised by Pico Art International. Through Media Fiesta, MDA seeks to nurture a culture of creativity and foster a connected and cohesive society through: 1. Exposing Singaporeans to the whole spectrum of traditional and interactive digital media, and raising their awareness of emerging media technologies 2. Promoting the discerning and responsible use of media, and 3. Providing opportunities for Singaporeans to appreciate made-by Singapore media content, services and applications, and embrace media for work, learning and play Four Anchor Events Showcase Local Talents Targeting over 120,000 Singaporeans including students, parents and young working adults, Media Fiesta 2011 will showcase various media platforms - covering music, publishing, games and film - through four anchor events which will be held, over four weekends in March. -
Adrian Pang 彭耀顺 Actor
ADRIAN PANG 彭耀顺 ACTOR. HOST. PRODUCER. Ethnicity: Chinese Nationality: Singaporean Height: 1.75m Weight: 70kg Hair: Black Eyes: Dark Brown Languages Spoken: English, Mandarin Adrian Pang pangdemonium.com/ @pangdemoniumtheatre @pangdemonium Adrian Pang’s Showreel Curriculum Vitae Awards Year Title Category 2016 Life! Theatre Awards Best Actor Winner – LKY Musical 2012 Life! Theatre Awards Best Actor Nomination - Dealer’s Choice 2011 Life! Theatre Awards Best Actor Nomination - The Full Monty 2010 Life! Theatre Awards Best Actor Winner - Much Ado About Nothing 2007 Life! Theatre Awards Best Actor Nomination - The Pillowman 2008 Asian Television Awards Best Actor In A Drama Series Winner – Red Thread 2006 Life! Theatre Awards Best Actor Awards Winner – The Dresser 2005 Asian Television Awards Best Actor In A Comedy Series Nomination – Maggie & Me 2004 Asian Television Awards Best Entertainment Host Nomination – Top Ten 2003 Asian Television Awards Best Actor In A Comedy Series Winner – Ah Girl 2003 Asian Television Awards Best Actor In A Comedy Series Nomination – Durian King 2003 Asian Television Awards Best Actor In A Drama Series Nomination – Portrait Of Home 2003 Asian Television Awards Best Actor In A Drama Series Nomination – Six Weeks *Six Weeks was created and co-written by Adrian 2003 Asian Television Awards Best Entertainment Host Nomination – Yummy King 2003 Life! Theatre Awards Best Actor Nomination – The Odd Couple 2002 Life! Theatre Awards Best Supporting Actor Nomination – Forbidden City 1997 The Straits Times Best Performance -
Chapter 1: Place §1 Chinese Popular Music
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 1: Place §1 Chinese Popular Music After introducing the singer and describing his migration from Malaysia to Singa- pore and his recent popularity in Hong Kong, Taiwan, and all over the Chinese di- aspora, the anchor [of the 1995 May 1st Concert] asked Wu [Qixian] how he de- fined himself in the final analysis. The musician’s reply, “I am Chinese” (wo shi Zhongguoren), which stirred a most enthusiastic and warm response from the au- dience, encapsulated everything Wu’s participation stood for, at least from the point of view from the state… By inviting … gangtai singers to participate in concerts and television programs, the Chinese state is not engaged so much in competing with other Chinese politics and identities … but rather in contesting their independence and in co-opting them into a greater Chinese nationalism, of which China is the core. In other words, the Chinese state is engaged in appropri- ating the concept of Greater China (Da Zhonghua).1 Gangtai is a 1980s PRC term for highly successful cultural products from Hong Kong (xiang gang) and Taiwan. In the above quotation, Nimrod Baranovitch rightly recognizes Hong Kong and Taiwan as major areas of production of Chinese pop music. -
THE ADVENTURES of ELMO in GROUCHLAND Mandy Patinkin
THE ADVENTURES OF ELMO IN GROUCHLAND Mandy Patinkin. Vanessa Williams. Sonia Manzano. Roscoe Orman. Alison Bartlett-O'Reilly. Ruth Buzzi. Emilio Delgado. Loretta Long. Bob McGrath. VOICEOVERS. Kevin Clash. Fran Brill. Stephanie D'Abruzzo. Dave Goelz. Joseph Mazzarino. Jerry Nelson. Carmen Osbahr. Martin P. Robinson. David Rudman. Caroll Spinney. Steve Whitmire. Frank Oz. THE ADVENTURES OF SEBASTIAN COLE Margaret Colin. Clark Gregg. Aleksa Palladino. John Shea. Adrian Grenier. Joan Copeland. Tom Lacy. Marni Lustig. Rory Cochrane. Gabriel Macht. Levon Helm. Russel Harper. Greg Haberny. Peter McRobbie. Merrit Wever. Marisol Padilla Sanchez. Famke Janssen. Tennison Hightower. Nicole Ari Parker. Graeme Malcolm. Dan Tedlie. Miguel Najera. Jane Jensen. C.S. O'Brien. Nikki Uberti. Joe Lisi. Kip Williams. AFTER LIFE Arata. Erika Oda. Susumu Terajima. Taketoshi Naito. Kyoko Kagawa. Kei Tani. Takashi Naito. Sadao Abe. Kisuke Shoda. Kazuko Shirakawa. Yusuke Iseya. Hisako Hara. Sayaka Yoshino. Kotaro Shiga. Natsuo Ishidou. Akio Yokoyama. Tomomi Hiraiwa. Yasuhiro Kasamatsu. AGNES BROWNE Anjelica Huston. Marion O'Dwyer. Ray Winstone. Arno Chevrier. Gerard McSorley. Niall O'Shea. Ciaran Owens. Roxanna Williams. Carl Power. Mark Power. Gareth O'Connor. James Lappin. Tom Jones. June Rodgers. Jennifer Gibney. Eamonn Hunt. Richie Walker. Sean Fox. Steve Blount. Gavin Kelty. Arthur Lappin. Brendan O'Carroll. Katriona Boland. Bernadette Lattimore. Terry Byrne. Joe Hanley. Paddy McCarney. Clodagh Long. Fionnuala Murphy. Frank Melia. Virginia Cole. Olivia Tracey. Joe Pigott. Cristen Kauffman. Frank McCusker. Cecil Bell. Peter Dix. Anna Megan. Joe Gallagher. Maria Hayden. Aedin Moloney. Malachy Connolly. Pauline McCreery. Chrissie McCreery. Noirín Ni Riain. Joanne Sloane. Keith Murtagh. Jim Smith. Tara Van Zyl. Anne Bushnell. -
Popular Music in Southeast Asia & Schulte Nordholt Popular Music in Southeast Asia
& Schulte Nordholt Barendregt, Keppy Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Popular Music in Southeast Asia Peter Keppy, and Henk Schulte Nordholt Popular Music in Southeast Asia Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Peter Keppy, and Henk Schulte Nordholt AUP Cover image: Indonesian magazine Selecta, 31 March 1969 KITLV collection. By courtesy of Enteng Tanamal Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 403 5 e-isbn 978 90 4853 455 5 (pdf) doi 10.5117/9789462984035 nur 660 Creative Commons License CC BY NC ND (http://creativecommons.org/ licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2017 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Table of Contents Introduction 9 Muted sounds, obscured histories 10 Living the modern life 11 Four eras 13 Research project Articulating Modernity 15 1 Oriental Foxtrots and Phonographic Noise, 1910s-1940s 17 New markets 18 The rise of female stars and fandom 24 Jazz, race, and nationalism 28 Box 1.1 Phonographic noise 34 Box 1.2 Dance halls 34 Box 1.3 The modern woman 36 2 Jeans, Rock, and Electric Guitars, -
Singaporean Cinema in the 21St Century: Screening Nostalgia
SINGAPOREAN CINEMA IN THE 21ST CENTURY: SCREENING NOSTALGIA LEE WEI YING (B.A.(Hons.), NUS) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF CHINESE STUDIES NATIONAL UNIVERSITY OF SINGAPORE 2013 Declaration i Acknowledgement First and utmost, I owe a huge debt of gratitude to my supervisor, Dr. Nicolai Volland for his guidance, patience and support throughout my period of study. My heartfelt appreciation goes also to Associate Professor Yung Sai Shing who not only inspired and led me to learn more about myself and my own country with his most enlightening advice and guidance but also shared his invaluable resources with me so readily. Thanks also to Dr. Xu Lanjun, Associate Professor Ong Chang Woei, Associate Professor Wong Sin Kiong and many other teachers from the NUS Chinese Studies Department for all the encouragement and suggestions given in relation to the writing of this thesis. To Professor Paul Pickowicz, Professor Wendy Larson, Professor Meaghan Morris and Professor Wang Ban for offering their professional opinions during my course of research. And, of course, Su Zhangkai who shared with me generously his impressive collection of films and magazines. Not forgetting Ms Quek Geok Hong, Mdm Fong Yoke Chan and Mdm Kwong Ai Wah for always being there to lend me a helping hand. I am also much indebted to National University of Singapore, for providing me with a wonderful environment to learn and grow and also awarding me the research scholarship and conference funding during the two years of study. In NUS, I also got to know many great friends whom I like to express my sincere thanks to for making this endeavor of mine less treacherous with their kind help, moral support, care and company.