Mediascape GAME to BE DIFFERENT MEDIA DEVELOPMENT AUTHORITY ANNUAL REPORT 2008/09
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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 -
News Release for Immediate Release
News Release For Immediate Release Singapore brings a slice of colourful Peranakan culture to MIPTV 2009 Singapore, 20 March 2009 – Amidst a strong line-up of animation content and factual titles will be a slice of Peranakan 1 culture at international trade show MIPTV in Cannes, France this year. MediaCorp artistes Qi Yuwu and Jeanette Aw of The Little Nyonya will join the Singapore delegation at one of the world’s largest fairs for the buying and selling of audiovisual content to promote the 34-episode serial. Revolving around the trials and tribulations of a woman born of Straits-born Chinese or Peranakan heritage, the drama weaves Peranakan culture into its storyline, and brings to life some of the more intriguing aspects of this ethnic group. It became Singapore’s most- watched drama in 15 years when it aired late last year. The lead actors of the drama join a 10-company strong delegation at MIPTV to promote for sale and distribution a slate of 41 titles under the Singapore Pavilion, led by the Media Development Authority of Singapore (MDA). Headlining the slate is a strong line-up of animation co-productions, including three titles making their market debut. These include Dinosaur Train which is Big Communications’ collaboration with The Jim Henson Company, and supported by MDA. A children’s programme, Dinosaur Train has secured sales in Norway and Canada, with broadcasters from Nickelodeon Australia, Germany's Super RTL and 1 For centuries, the riches of Southeast Asia have brought foreign traders to the region. While many returned to their homelands, some remained behind, marrying local women. -
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. -
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. -
The Road to New Asia Media
The Road to New Asia Media Having trouble viewing? Experience our Annual Report 09/10 using Augmented Reality! Just follow these simple steps: Just follow these simple steps: 1. Ensure that the black MDA marker , and not the front of the driving licence, is placed parallel 1. Remove the driving licence from the inner cover to the webcam. of this booklet (on your left). You’ll find ablack MDA marker on the back. Also ensure your PC has a 2. Do not block any part of the MDA marker’s black functioning webcam. square with your fingers. 3. Make sure the driving licence is not bent or 2. Insert the Annual Report DVD found above the folded. Markers with creases can impair detection. driving licence. Once the DVD flash menu has loaded, click on “Launch AR Application”. 4. Ensure your camera can detect the driving licence clearly. Markers that are further away are more 3. If this is the first time you are running the application, difficult to detect. you will be prompted to install the programme. 5. If you are still experiencing any issues with Follow the instructions on the screen. detection, please close and restart the application. Also, make sure your PC meets the minimum 4. The programme will then launch automatically. Your operating system requirements. LCD monitor acts as a “magic mirror”. Using the driving licence, face the MDA marker towards the webcam. Hold it within the selection circle for three seconds and watch the magic unfold! Having trouble viewing? Open the flap for more information. CONTENTS Mission and Vision 2 Chairman’s Message -
UC Berkeley Cross-Currents: East Asian History and Culture Review
UC Berkeley Cross-Currents: East Asian History and Culture Review Title Domesticating Hybridity: Straits Chinese Cultural Heritage Projects in Malaysia and Singapore Permalink https://escholarship.org/uc/item/67q2984p Journal Cross-Currents: East Asian History and Culture Review, 1(17) ISSN 2158-9674 Author Teoh, Karen M. Publication Date 2015-12-01 eScholarship.org Powered by the California Digital Library University of California Domesticating Hybridity: Straits Chinese Cultural Heritage Projects in Malaysia and Singapore Karen M. Teoh, Stonehill College Abstract This article examines the literal and figurative domestication of Straits Chinese, or Peranakan, history in selected heritage projects in late twentieth-century Malaysia and Singapore. These projects simultaneously foreground Straits Chinese history as a symbol of interracial harmony and marginalize it as a cultural artifact. Over the late nineteenth and twentieth centuries, the ethnoculturally hybrid Straits Chinese positioned themselves as “the King’s Chinese,” champions of a Confucian-values renaissance, and citizens of independent Malaysia and Singapore. Their adaptability helped them survive the upheaval of imperialism, decolonization, and nation building, but it was also controversial for its suggestion of political flexibility. Today, Southeast Asian governments and the Peranakan themselves depict the community as a uniquely local model of ethnic integration. Museums and historic homes emphasize portrayals and consumption of supposedly feminine aspects of Peranakan culture -
In China • Understand the Principle
COURSE OBJECTIVES • Understand the trends and development of over-the-top services (OTT) in China • Understand the principles of scriptwriting and storytelling • Develop techniques of screenwriting • Develop and write the treatment of a screenplay • Create the specific components of screenwriting for OTT: structure, dramatic composition, characterization • Develop and write a screenplay for a full-length fiction for the China OTT market COURSE CONTENT • Trends in China over-the-top services (OTT) and content development • Principles of scriptwriting and storytelling • Ideation and story development • Introduction to treatment • Treatment development and writing • Treatment practice • Visualisation and screenplay structure • Theme & characterisation • Story Bible • Scene breakdown • Scene writing • From treatment to scene breakdown • From screen breakdown to script TRAINERS’ PROFILE GUO JING YU 郭靖宇 GUO JING YU 郭靖宇 entered the Chengde drama troupe as an actor when he was only 18 years old, and began his path in the television and film industry. In 1994, Guo went to Beijing and started off working as a script supervisor. He became an executive director within two years. Following that, Guo studied and practice under the guidance of famous director Huang Jianzhong, and eventually became the independent director renowned for his high-quality script and directorial work. Guo has been honoured as one of the kings of China’s television drama that consistently delivers high performance ratings and award-winning television series. From “Iron Pear” 《铁梨 花》, “Red Lady” 《红娘子》, “Dog Stick” 《打狗棍》, “Brave Heart” 《勇敢的心》 to “Yangko Dance”《大秧歌》, these television series, directed by Guo, are not only legendary, but have all achieved dazzling performance ratings as well. -
DUET Magazine (Oct
OCT–DEC 2015 A WALK FOR TWO SPEED YOUR GUIDE TO DATING COOL PLACES IN LOVE IN FOUR SERANGOON MINUTES? 08 RESEARCH YOUR SHOWS IT’S CHEATING POSSIBLE HEART 04 THREE LADIES SEEK RELATIONSHIP ADVICE 21 WIN! 10 goodie bags from BRAND’S® are up for grabs! TAKE THE QUIZ ON 03 03 Readers’ Quiz CONTENTS Stand to win a BRAND’S® goodie bag OCT–DEC 2015 worth S$99.10! 08 16 06 04 12 16 Heart Truths Mass Appeal The Makeover What does science tell us about We plough through mass media— Besides providing a pair of singletons romance and relationships? This issue, books, comics, fi lm, music—and a new wardrobe, Duet’s exclusive Duet zooms in on speed dating. report on those that off er lessons on makeover session off ers them a chance relationships. to go on a dinner date—with each other! 06 21 IMHO Dating agency GaiGai’s Assistant Ask the Expert Professor Jean Liu says that there’s Folks facing road bumps on the road to no need to feel kancheong at speed love write in for advice from SDNTrust- dating sessions. accredited dating agencies. 08 14 22 In Your ’Hood Meet... It’s a Date This northeastern pocket is a great ...recently married couple Xin Wan and From this list of interesting things to try, setting to have a day out with pals or a Ka Kui, and CruCycle’s Beatrice Ding. learn, know, and visit, you can fi ll your stroll towards the sunset with your lover. diary for the next three months. -
The Little Nyonya” As an Example
The Writing of Women’s Awakening Consciousness from the Perspective of Gender Criticism—Take the TV Series “The Little Nyonya” as an Example Shumei Jing1* Zhixing College of Northwest Normal University, Lanzhou 730070, Gansu, China Abstract: Women’s liberation has always been the focus of gender criticism. Television “The Little Nyonya” from the feminist perspective, with hybrid living space in the form of Baba culture as the background, shaped the survival during the Anti-Japanese War in under cover of male supremacy, especially in the feudal etiquette, social circles to days of Tianlan, Juxiang, and Yueniang has represented the typical female characters, depicting the intelligence and qualities of Nyonya, shows them from swallowing the defense, active resistance to victory break free of this growth process into confusion, explore, growth, struggle and sacrifi ce. As a hymn refl ecting women’s strength, courage, independence and confi dence, “The Little Nyonya” has certain enlightening signifi cance for the audience, especially the female audience, to think about their own life choices and pursuits. Keywords: Gender Criticism; “The Little Nyonya”; Women’s Cognitive; Feminism; Female Awareness 1. Introduction As a criticism method with female value standard and aesthetic pursuit, gender criticism requires us to explore literary and artistic works from female perspective, female perception and experience. Literary and artistic creation should have not only the foundation of contemporary life, but also the blood of cultural tradition. The 45-episode -
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