SOUTHEAST ASIAN INDEPENDENT CINEMA ESSAYS · DOCUMENTS · INTERVIEWS Edited by Tilman Baumgärtel Tilman 00_fm(p.i-xxi).indd iii 24/11/2011 2:07 PM Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong Hong Kong www.hkupress.org © Hong Kong University Press 2012 ISBN 978-988-8083-60-2 (Hardback) ISBN 978-988-8083-61-9 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Liang Yu Printing Factory Ltd., Hong Kong, China Baumgartel_00_fm(p.i-xxi).indd iv 30/11/2011 4:35 PM Contents Notes on Contributors xi List of Figures xv Acknowledgements xix Introduction: Independent Cinema in Southeast Asia 1 Tilman Baumgärtel I Essays 1. Southeast Asian Independent Cinema: Independent of What? 13 John A. Lent 2. Imagined Communities, Imagined Worlds: Independent Film from 21 Southeast Asia in the Global Mediascape Tilman Baumgärtel 3. Hinterland, Heartland, Home: Aff ective Topography in Singapore Films 33 Alfi an Bin Sa’at 4. Stealing Moments: A History of the Forgotten in Recent Singaporean 51 Film Ben Slater 5. Fiction, Interrupted: Discontinuous Illusion and Regional Performance 59 Traditions in Contemporary Th ai Independent Film Natalie Böhler 6. Cinema, Sexuality and Censorship in Post-Soeharto Indonesia 69 Intan Paramaditha 7. Independent versus Mainstream Islamic Cinema in Indonesia: Religion 89 Using the Market or Vice Versa? Tito Imanda Tilman 00_fm(p.i-xxi).indd vii 24/11/2011 2:07 PM viii Contents 8. Observational Documentary Comes to Indonesia: Aryo Danusiri’s 105 Lukas’ Moment David Hanan II Documents 9. Four Manifestos 119 Khavn de la Cruz 10. Why Ciplak ended up being made 125 Khairil M. Bahar 11. Singapore GaGa Tours Singapore 131 Tan Pin Pin 12. Th e Downside of Digital: A German media critic plays devil’s advocate 141 Tilman Baumgärtel et al. 13. I Sinema Manifesto 151 III Interviews 14. “An inexpensive fi lm should start with an inexpensive story” 155 Interview with Brillante Mendoza and Armando Bing Lao Tilman Baumgärtel 15. “Digital is liberation theology” 171 Interview with Lav Diaz Tilman Baumgärtel 16. “I make fi lms for myself” 179 Interview with Apichatpong Weerasethakul Tilman Baumgärtel 17. “I love making fi lms, but not getting fi lms made” 191 Interview with Pen-ek Ratanaruang Tilman Baumgärtel 18. “I want the people of Indonesia to see a diff erent point of view, whether 201 they agree with it or not” Interview with Nia Dinata Tilman Baumgärtel 19. “I do not have anything against commercial fi lms” 213 Interview with Eric Khoo Tilman Baumgärtel Tilman 00_fm(p.i-xxi).indd viii 24/11/2011 2:07 PM Contents ix 20. Th e Page and the (Video) Camera 227 Conversation with Amir Muhammad Davide Cazzaro 21. “I want you to forget about the race of the protagonists half an hour into 245 the fi lm” Interview with Yasmin Ahamad Tilman Baumgärtel Notes 253 Bibliography 263 Index 271 Tilman 00_fm(p.i-xxi).indd ix 24/11/2011 2:07 PM Notes on Contributors Tilman Baumgärtel has taught at the Universität Paderborn, Technische Universität Berlin, Mozarteum in Salzburg, Austria, and for four years at the University of the Philippines in Manila, before he joined the Department of Media and Communication at the Royal University of Phnom Penh in 2009. He has pub- lished both in German and in English. His publications include books on indepen- dent cinema in the Philippines, Internet Art, Computer Games and the German director Harun Farocki. He has also curated international art exhibitions and fi lm series. At present, he is doing research on the cinema of his current host country Cambodia. His blog “Th e Institute of Southeast Asian Film Studies” can be found at http://southeastasiancinema.wordpress.com Khairil M. Bahar made low-budget short fi lms before making his fi rst feature fi lm, Ciplak. Despite its modest budget, the fi lm was released by Golden Screen Cinemas in Kuala Lumpur and won the Best Alternative Film Award at the Anugerah Skrin 2006. He has since written and directed many episodes of TV staples such as Ampang Medikal, Ghost and Dark City, as well as made numerous music videos for Malaysian independent bands such as Y2K, One Buck Short, Dragon Red, Azizi and Soft Touch. Khairil is currently putting fi nishing touches to his second feature fi lm London Calling. He also writes for magazines and plays the guitar in his rock band Rollin Sixers. Natalie Böhler is currently working on her Ph.D. on narrative and aesthetic charac- teristics of contemporary Th ai fi lm at Zurich University, Switzerland. Besides this, she was co-editor of CINEMA, the Swiss fi lm yearbook, and works as an indepen- dent curator for fi lm festivals and art-house cinemas. She also teaches fi lm studies at Zurich University. Her research interest includes narratology, experimental and documentary fi lm, co-productions, and transnational cultural fl ows. Davide Cazzaro studied Performing Arts and Media Studies at Ca’ Foscari University of Venice, and Screen Studies at Goldsmiths, University of London. He is currently undertaking a Ph.D. program in Media and Communications at the same college. For a number of years now, he has been specializing in East and Tilman 00_fm(p.i-xxi).indd xi 24/11/2011 2:07 PM xii Notes on Contributors Southeast Asian cinemas. He works as fi lm critic for various printed and online journals and as program consultant for the Mostra Internazionale del Nuovo Cinema di Pesaro (Pesaro International Film Festival). He is the co-editor of Il cinema sudcoreano contemporaneo e l’opera di Jang Sun-woo (Contemporary South Korean Cinema and the Oeuvre of Jang Sun-woo, 2005). Khavn de la Cruz is an experimental fi lmmaker from the Philippines. He has made twenty-three features and more than seventy short fi lms, most of which have received prizes, been given retrospectives, and presented in international fi lm festi- vals. He is the president of the independent fi lm company Filmless Films and the festival director of .MOV, the fi rst digital fi lm festival in the Philippines. Khavn has won awards for his poetry and fi ction in the Don Carlos Palanca Memorial Awards. He is an acclaimed composer, songwriter, singer, and pianist who has per- formed all over the world and has made several albums. He is the bandleader of Th e Brockas. David Hanan teaches Film and Television Studies in the School of English, Communications and Performance Studies at Monash University in Melbourne, Australia. He has undertaken research on fi lm in Indonesia since the mid-1980s and was Southeast Asian consultant for the Melbourne International Film Festival for nearly twenty years. He is the editor of Film in South East Asia: Views fr om the Region (Hanoi: SEAPAVAA and the Vietnam Film Institute, 2001). He has subtitled more than a dozen Indonesian fi lms, many at the request of the National Film Council of Indonesia, and organized half a dozen Indonesian fi lm preserva- tion projects. He is the curator of Between Th ree Worlds DVD (a division of the Monash Asia Institute Press), which distributes Indonesian and Th ai fi lms interna- tionally. He is currently completing a book on innovation, cultural diff erence and political resistance in Indonesian cinema since 1950. Tito Imanda completed his Master’s degree in Media, Culture and Communication from New York University funded by a Fulbright scholarship. His Master’s thesis was on the Indonesian fi lm industry. With his undergraduate degree in anthro- pology from the University of Indonesia, Jakarta, his interest in culture and mass media showed in several qualitative researches and ethnographic fi lms he pro- duced. Today, he is involved in the Indonesian fi lm policies reform movement, MFI (Masyarakat Film Indonesia—Indonesian Film Society), and is currently setting up a new fi lm school for Binus University International, Jakarta. John A. Lent is the publisher/editor-in-chief of Asian Cinema and International Journal of Comic Art and long-time chair of Asian Cinema Studies Society. He has been researching Asian media, including cinema, since 1964. Among his seventy authored and edited books is Th e Asian Film Industry (Austin: University of Texas Press, 1990), the fi rst volume to treat the topic. He has been teaching at the univer- sity level in the US, the Philippines, Malaysia, and China since 1960. Tilman 00_fm(p.i-xxi).indd xii 24/11/2011 2:07 PM Notes on Contributors xiii Intan Paramaditha is a Ph.D. candidate at the Department of Cinema Studies, New York University. Her articles have appeared in, among others, Jump Cut, Asian Cinema, Review of Indonesian and Malaysian Aff airs, and the Encyclopedia of Women and Islamic Cultures. She is the author of an anthology of horror short stories, Sihir Perempuan (2005). Alfi an Bin Sa’at is a Singaporean writer, poet, and playwright, who is known for his provocative works and is oft en referred to as his country’s enfant terrible. He has published two volumes of poetry, including One Fierce Hour, which was voted by Life! (Straits Times) as one of the top ten books of 1998. In the same year, he received the Singapore Literature Prize Commendation Award for his collection of short stories: Corridor and Other Stories.