Eric Khoo Film Maker Eric Khoo Is a Noted

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Eric Khoo Film Maker Eric Khoo Is a Noted

Eric Khoo (UWCSEA 1979 – 1983) Film Maker Eric Khoo is a noted Singaporean film maker, and owner of Zhao Wei Films, a production company based in Singapore which produces motion pictures, television commercials and other media content. Eric’s films have won numerous awards both locally and internationally, and have been invited to participate in numerous film festivals around the world. Eric’s mother introduced him to the movies at the age of 2, beginning his life-long love for the cinema. At the age of 8, he borrowed her camera and began making short animated films. After studying cinematography at the City Art Institute in Sydney, Australia, Eric returned to Singapore and began his career, making award winning short films, and then moving on to feature films. Most of his films are dramas set in urban Singapore, and portray human life struggles with characters that don’t function well within society’s rules and regulations. In 1994, Eric’s film Pain, won him the Best Director and Special Achievement awards at the 1994 Singapore International Film Festival. He was the first recipient of the National Arts Council’s Young Artist Award for film in 1997. In 1999, he was named in Asiaweek Magazine as one of 25 exceptional trend-makers of Asia for his influence on film and television, and the following year he was included in Asiaweek’s ‘leaders for the millennium’ issue. In 1999, Eric also received the Singapore Youth Award for dedication to film making and contributions to society. In 2000, he produced Stories About Love, the first Asian, completely digital movie. Some of his most critically acclaimed films include Mee Pok Man, produced in 1995, which won prizes in Singapore, Fukuoka and Pusan; 12 Storeys, produced in 1997, a portrait of urban alienation, which was the first Singaporean film to be invited to the Cannes Film Festival; and Be With Me, produced in 2005, a tapestry of stories woven around the themes of love, hope and destiny, inspired by the life of a courageous deaf and blind woman, which was selected to open the Directors’ Fortnight at the Cannes Film Festival. In 2007 Eric Khoo produced the musical, 881, which has been selected as Singapore’s entry for the Best Foreign Film category at the 2008 Academy Awards. Also in 2007, Mr Khoo became the first movie director to be invited to join the board of the Singapore Media Development Authority (MDA), where he will serve a two year term. Eric is married and has 4 sons. .

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Dossier De Presse Be with Me F
Dossier de presse trigon-film BE WITH ME de Eric Khoo, Singapour, 2005 DISTRIBUTION trigon-film Limmatauweg 9 5408 Ennetbaden Tel: 056 430 12 30 [email protected] www.trigon-film.org CONTACT PRESSE Anne Delseth Tel: 079 614 88 84 [email protected] MATERIEL PHOTOGRAPHIQUE www.trigon-film.org ,ICHE TECHNIQUE Réalisation : Eric Khoo Scénario : Eric Khoo et Wong Kim Hoh Producteur exécutif : Jacqueline Khoo, James Toh et Freddie Yeo Producteur : Brian Hong Directeur de la photographie : Adrian Tan Monteur : Low Hwee Ling Son : Kazz Société de production : Zhao Wei Films Pte Ltd Post-production : Infinite Frameworks Pte Ltd FICHE ARTISTIQUE Theresa Chan Ezann Lee - Jackie Samantha Tan - Sam Seet Keng Yew - Security Guard Chiew Sung Ching - Father Lawrence Yong - Son Lynn Poh - Ann FESTIVALS Telluride Film Festival, Toronto International Film Festival, Antalya Golden Orange Film Festival, Vancouver International Film Festival Pusan International Film Festival, Flanders International Film Festival (Prix Sabam, Meilleur scenario), Chicago International Film Festival Haifa International Film Festival, CJ Asian Independent Film Festival Seoul (Prix du Public),Tokyo International Film Festival (Mention spéciale), Torino Film Festival (Meilleur réalisateur, prix CinemAvvenire), Thessaloniki International Film Festival, Gijon International Film Festival, Brussels Festival of Independent Film (Meilleur réalisateur) Stockholm International Film Festival (Prix du Jury FIRPRESCI), Fribourg International Film Festival Mention spéciale du Jury, Prix du Jury oecuménique et Prix du Jury FICC), Mar Del Plata International Film Festival (Mention spéciale), Film Indianapolis International Film Festival, Oporto International Film Festival, (Prix spécial du Jury Fantasporto), Commonwealth Film Festival, Manchester. SYNOPSIS 4e With Me est une mosaïque d‘histoires construites autour des thèmes de l‘amour, de l‘espoir et du destin.
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The Educator's Guide
Resources A Guide for Secondary School Educators The Educator’s Guide Created in conjunction with the exhibition, SINGAPO人: Discovering Chinese Singaporean Culture Discovering Chinese Singaporean Culture This exhibition examines how the Chinese community in Singapore developed its own distinctive culture. Here, visitors discover and rediscover what it means to be a Chinese Singaporean. The aim is to develop a stronger sense of the Chinese Singaporean identity amongst youths. This will help foster a greater sense of belonging while giving them an understanding of how we are similar to or different from other Chinese communities. This exhibition presents Chinese Singaporean culture through daily life in Singapore – through the things we see, hear, do and eat every day. Therefore, the experience is highly interactive where visitors can touch various stations, play games, listen to stories and have a dialogue with the gallery. Through this exhibition, we will explore ideas of: Chinese heritage Cultural interactions Public policies The exhibition content extends classroom learning and teaching, by complementing History, Social Studies and Character & Citizenship Education subjects taught in secondary schools. It is also self-guided, where students can learn and explore independently. One of the main interactive features of the exhibition is the use of wristband tags. Students can tap their wristband tags to answer questions scattered throughout the space, trigger videos and play games. At the end of the visit, students can print out their own personalised report card which summarises their exhibition journey along with prompts for further cultural exploration beyond the exhibition. This report card serves as a starting point for them to reflect about their identity in relation to everyday life.
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Press Release (Movies, Music and Metaphors)
MEDIA RELEASE MOVIES, MUSIC AND METAPHORS “华语 COOL” Celebrates the Richness of Chinese Culture 23 October 2006, Singapore – Maintaining its objective of engaging English-speaking Chinese Singaporeans, in particular the post-65 generation, the 27th Speak Mandarin Campaign is encouraging this segment of the population to develop a grasp of the language beyond just its functional use, and gain a better appreciation of the language, Chinese culture and tradition. “We want to encourage the English-speaking post-65ers to go deeper into the use of Mandarin, not just for day-to-day communication, but for a better understanding of the rich Chinese heritage,” said Kenneth Tan, Chairman of the Promote Mandarin Council. He added, “The Campaign will continue to use a lifestyle-oriented approach, revolving around movies, music and metaphors, extending the theme of “华语 COOL”. We are working with our partners to engage the audience in their daily lives, for example tapping into the wide appeal of Mandarin songs and movies, as well as attracting their interest with the beauty of idioms and metaphors.” MOVIES In the area of movies, Eric Khoo’s Zhao Wei Films with director Royston Tan has produced a short clip, which will preview at the upcoming Speak Mandarin Campaign launch on 30 October to promote Mandarin in a creative way. Golden Village will continue to encourage Singaporeans to enjoy and watch Mandarin movies to immerse themselves in the language and via osmosis, learn the language. Page 1 of 3 Singapore’s 5C Films is also partnering the Speak Mandarin Campaign to promote Mandarin in a fun and accessible way.
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Tatsumi Premieres at the 64Th Cannes Film Festival 2011
TATSUMI PREMIERES AT THE 64TH CANNES FILM FESTIVAL 2011 B A SED ON "A DRIFTING L IFE" AND THE SHORT STORIES OF YOSHIHIRO TATSUMI “Cannes was my dream of dreams. My heart swells with joy and pride, knowing that "TATSUMI" will premiere there. I just want to toast Eric Khoo!!” Yoshihiro Tatsumi “It has been my dream for this to happen, that Tatsumi premieres at Cannes Official Selection so that Yoshihiro Tatsumi, someone I truly admire and love, will finally be on one of the biggest international platforms to share Gekiga, his life and stories with the entire world.” Eric Khoo, Director "We are proud and honored at Infinite Frameworks to have had the opportunity to work on Tatsumi san's legendary artwork and to bring it to life under Eric's unique vision. It is by far the most emotional journey we have undertaken as a studio and the experience will continue to shape us for years to come." Mike Wiluan, Executive Producer TATSUMI PRESS RELEASE 14 APR 2011 Page 0 "It’s been an amazing journey composing for my dad. Starting off in 2008 with the movie, My Magic. I thought it would be a one time thing, but since music meant so much, I decided to continue and will never regret it. The three pieces from Tatsumi, after the arrangement by Christine Sham, have come a long way, and I love each and everyone of them." Christopher Khoo, Composer Yoshihiro Tatsumi started the gekiga movement, because he was heavily influenced by cinema. It's poetically fitting that Eric Khoo has decided to honour this master and his vision by making this film; things have just come full circle.
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APPRENTICE a Film by Junfeng Boo
Presents Singapore’s Official Submission for Best Foreign Film - 89th Academy Awards APPRENTICE A film by Junfeng Boo “Tightly focused and ambitious” – Screen Daily Singapore, Germany, France, Hong Kong, Qatar / 2016 / Drama / Malay with English Subtitles 96 min / 1.85:1 / 2.0 and 5.1 Surround Sound Opens in NY on March 3rd at Village East Cinema Press Contacts: NY: Jessica Uzzan| Hook Publicity | (646) 867 3818| [email protected] Genevieve Villaflor | Film Movement | (212) 941-7744 x215 | [email protected] ASSETS Official US Trailer: https://www.youtube.com/watch?v=oFXg4hP71KM&feature=youtu.be Downloadable hi-res images: www.filmmovement.com/filmcatalog/index.asp?MerchandiseID=523 SYNOPSIS APPRENTICE stars impressive newcomer Fir Rhaman in his first feature film. He plays Aiman, a 28-year-old Malay correctional officer who is recently transferred to the territory's top prison. At his new workplace, Aiman begins to take an interest in a 65-year-old sergeant named Rahim (veteran actor Wan Hanafi Su). Soon, it is revealed that the charismatic Rahim is actually the long- serving chief executioner of the prison. Rahim also takes notice of the principled and diligent Aiman, and when Rahim's assistant suddenly quits, he asks Aiman to become his apprentice. When Aiman, who lives with his older sister Suhaila, tells her about his new position, she becomes distraught, as their father was actually executed by Rahim. Can Aiman overcome his conscience and a haunted past to possibly take over as the next chief executioner? APPRENTICE boasts the same cinematographer, Benoit Soler, as ILO ILO (winner of the Camera d’Or in Cannes and released by Film Movement in 2014) and is executive produced by filmmaker Eric Khoo.
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MEDIA RELEASE Singapore International Film Festival
MEDIA RELEASE Singapore International Film Festival Celebrates Asia’s Story in Film The line-up includes two iconic Asian classics celebrating their 20th anniversary Singapore, 1 September 2015 – Southeast Asia’s longest-running international film platform Singapore International Film Festival (SGIFF) will take place from 26 November to 6 December 2015 to celebrate independent cinema in the region, telling the Asia story in film. SGIFF Executive Director, Yuni Hadi, said, “The region is rich with an eclectic mix of filmmakers, and SGIFF presents a choice platform for their different voices and styles of expression. It is always exhilarating to discover amazing works, create opportunities for exchanges between emerging talents and industry heavyweights, and connect these independent spirits with the wider regional and international audience.” The 26th edition of SGIFF will take place across various venues, including Marina Bay Sands, National Museum of Singapore, Shaw Theatres Lido, National Gallery Singapore, The Arts House, The Projector and The Substation. Film line-up for this year’s edition will be curated from the over 1,400 submissions received since its open call in May 2015. Line-up to Celebrate Two Iconic Asian Classics Two iconic films of Singapore cinema will lead the line-up for the Classics segment of the SGIFF. Eric Khoo’s Mee Pok Man and Yonfan’s Bugis Street are two well-known works that had been prominent in the 1990s – when a resurgence of independent cinema was noted in Singapore. Both films mark their 20th anniversaries this year. Eric Khoo’s Mee Pok Man (L) and Yonfan’s Bugis Street Redux (R) Hadi added, “Mee Pok Man and Bugis Street are two classics that not just tell a Singapore story, but also reflect a milestone of an era for our filmmaking industry.
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Global Cities, Local Knowledge
Formatting and Change in East Asian Television Industries: Media Globalization and Regional Dynamics Lim, Wei Ling Tania Patricia BSocSc (Hons), MSc (Media & Comms) Creative Industries Research and Applications Centre Queensland University of Technology Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 2005 Keywords Circuit of cultural production, East Asian popular culture, Television industries, Field of broadcasting, Formatting, Local knowledge, Media capitals, Neo-networks, Regional dynamics, TV Formats, martial arts dramas, teenage idol soap operas, game-shows. ii Abstract Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children’s animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood’s dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production.
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Aesthetics of the Pathetic: the Portrayal of the Abject in Singaporean Cinema
ACCESS: CONTEMPORARY ISSUES IN EDUCATION 2012, VOL. 31, NO. 2, 138–147 Aesthetics of the Pathetic: The Portrayal of the abject in Singaporean cinema Chua Beng Huata and Meisen Wongb aNational University of Singapore; bCenter for Metropolitan Studies, Berlin ABSTRACT A central figure in documentaries and commercial films in 1990s Singapore cinema is the abject figure in various guises, ranging from the urban poor to migrant sex workers from the other parts of the region. These abject figures make their living on the street and are thus fully visually exposed to every passing eye and lens. Set against the backdrop of Singapore’s triumphal national economic success story, these figures are aestheticised in visual representation, and stand as immediate disruption, critique and indictment of the long ruling government. Ironically, the same figures could just as easily be represented as ‘heroic’ figures of strength, self-reliance and individualism, qualities that are essential to Singapore’s success. Introduction to the abject The abject—literally one who is low in position, condition or status and even degraded— has enjoyed a particularly enduring status in film: as individuals living in penurious circumstances, immortalised by Charlie Chaplin’s iconic portrayal of the street urchin; as characters whose narratives are reflections or reactions to the Real by Italian neorealist cinema; as compelling alienated anti-heroes who embody non-mainstream values in Martin Scorsese’s Taxi Driver (1976); and, generally, in the characterisation and representation of the grotesque or the kitsch. In all these instances, the portrayal of abjectness is a reaction to impoverished conditions of reality.
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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.
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Singapore Cinema: Director Eric Khoo Speaks Up
Singapore Cinema: Director Eric Khoo Speaks Up By Jan Uhde and Yvonne Ng Fall 1999 Issue of KINEMA ERIC KHOO was born in 1965 to a well-to-do family in Singapore. According to Khoo, his mother started taking him to the movies at the age of two, developing in him a love for the cinema (delete sentence- repeated in main text). According to Khoo, when he was about eight years old, he (chanced upon) his mother’s Super 8 camera, started making ”little animated films” on it and has since been unable to put his camera down. Khoo’s interest led him to study cinematography at the City Art Institute in Sydney, Australia. Back in Singapore, he began making award-winning short films before venturing into feature film-making. In 1990, Khoo’s animated short film, Barbie Digs Joe, won five awards at the Singapore Video Competition and became the first Singapore short film to travel to film festivals abroad. His nextshort, August (1991) won the Best Singapore Short Film at the 4th Singapore International Film Festival. This was followed by the short films Carcass (1992) and Symphony 92.4 (1993). However, the short that brought Khoo notoriety at home and abroad was Pain (1994), a graphic portrait of a sado-masochistic young man’s obsession with pain, described by a critic from the Belgian paper Le Soir as ”an artistically and truly disturbing movie in its honesty.” The film won Khoo the Best Director and Special Achievement Awards at the 1994 Singapore International Film Festival but was banned from public exhibition for its portrayal of a person who commits a hideous crime of brutality and torture.
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New Beginnings of the Singapore Film Industry
Edith Cowan University Research Online Theses : Honours Theses 1998 Bright lights, small city: New beginnings of the Singapore film industry Samantha W.M. Tan Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Film Production Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Tan, S. W. (1998). Bright lights, small city: New beginnings of the Singapore film industry. https://ro.ecu.edu.au/theses_hons/459 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/459 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
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In Search of a Comparative Poetics: Cultural Translatability in Transnational Chinese Cinemas
In Search of a Comparative Poetics: Cultural Translatability in Transnational Chinese Cinemas Felicia Chan, B.A. Hons., M.A. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy November 2007 ABSTRACT This thesis begins with the question of how a more comprehensive comparative poetics of cinema might be formulated — one that depends not on essentialised notions of culture accentuated by binary divisions but one that would need to take into consideration the multiple agencies and subjectivities that impact the cultural production, and reading, of a film. The formulation of a constructive comparative poetics is necessary when building a case for the film’s cultural translatability, especially in the face of the proliferation of cinema that is being increasingly identified as ‘transnational.’ The case is made by analysing examples of transnational Chinese cinemas as exemplified by the films of three directors, Zhang Yimou, Wong Kar-wai and Ang Lee, between 1991 and 2002. In each of these examples, I explore how the films negotiate the various cultural and national boundaries they invariably cross as they enter into the global circulation of film and media products. Whilst I analyse the films in the contexts of the political and social histories of the various Chinese territories from which they appear to originate, I do not claim that they are merely products of those histories. The films are also products of economic and business networks, individual aesthetic choices on the part of the filmmakers, and a complex matrix of tastes and preferences exercised by their audiences, which may not necessarily be nationally or culturally demarcated.
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