Cinémathèque Quarterly Vol. 2: April_June 2017 About National Museum of Cinematheque The National Museum of Singapore Cinematheque Contents focuses on the presentation of film in its historical, cultural and aesthetic contexts, with a strong emphasis on local and regional cinema. Housed in the museum's 247-seat Gallery Theatre, the National Museum of 4 Editorial Note Singapore Cinematheque offers new perspectives on film through a year-round series of screenings, thematic showcases, and retrospectives. 5 Feedback Mechanisms: On Film and The City Design: Studio Vanessa Ban, assisted by Kong Wen Da Printer: First Printers, Singapore 24 “To Each His or Her Own Ambition”: A Concise Distributed by the National Museum of Singapore History of the Chong Gay Organisation in Singapore NMS: Wong Hong Suen, Kathleen Ditzig, Hannah Yeo Stephanie Yeo, Olivia Lim 38 5 × 5: Alex Oh × Rennie Gomez © 2017 National Museum of Singapore All rights reserved Published in Singapore by 44 Young Critic’s Pick — Review of Kelvin Tong's National Museum of Singapore, an institution of National Heritage Board. Grandma Positioning System by Mary Ann Lim

The views and positions expressed in this publication are those of the authors only and are not representative 46 Young Critic’s Pick — Review of 's of the editorial committee or publisher. The National Museum of Singapore shall not be held liable for any The Girl and Boo Junfeng's Parting: Nostalgia and damages, disputes, loss, injury or inconvenience arising in connection with the contents of this publication. Space in Singapore by Ho Xiu Lun

2 All rights reserved. No part of this publication may be 3 reproduced, stored in a retrieval system or transmitted 48 Dispatches from the Archive: in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without written Retracing Medium Rare permission of the publisher.

ISSN 2251-2993 61 Playback: Kacang Putih Days at the Jurong Drive-in

64 Writers’ Biographies

Published by An institution of Supported by Editorial Note Feedback Mechanisms Feedback Mechanisms Feedback Mechanisms Feedback Mechanisms Feedback Mechanisms Feedback Mechanisms Feedback Mechanisms Feedback Mechanisms

Cinematheque Quarterly Vol.2 have had a long love affair Feedback Mechanisms returns with an issue dedicated to the with cinema and to celebrate this history, examination of cinematic space – in this issue concludes with a look back to Feedback Mechanisms terms of Singapore’s depiction in films Singapore’s only drive-in cinema. With a Feedback Mechanisms and cinema as a space where the specially commissioned recipe of Kacang aspirations and shared memories of a Putih by Christopher Tan, transport Feedback Mechanisms society can play out. yourself back to the heyday of the Jurong Drive-in Cinema! Feedback Mechanisms 4 This issue begins with two essays: 5 Feedback Mechanism: On Film and the We hope you enjoy this issue of Feedback Mechanisms City, a photo-essay by critic Kenneth Tay Cinematheque Quarterly and find Feedback Mechanisms inspired by a lecture Tay presented at the new insights into Singapore’s unique National Museum of Singapore (NMS) as cinematic culture and heritage. As Feedback Mechanisms part of our programme titled, PlayTime: space is often defined by its users, the A Complete Retrospective of Jacques designers have made this issue’s cover Feedback Mechanisms Tati’s Films; and an essay by Toh Hun Ping emulate the surface of a white wall. that explores the history of Chong Gay, a We invite you to “write on the wall” and Feedback Mechanisms film company that believed cinema was respond by decorating a Cinematheque Feedback Mechanisms a cultural tool that could wield a positive Quarterly that is uniquely yours! influence on society. Feedback Mechanisms We are ever grateful to you our reader, Developed in partnership with NUS and to our partners, the Singapore Feedback Mechanisms undergraduate students, Young Critics’ Film Commission (SFC) of the Info- Picks returns with new reviews of films communications Media Development Feedback Mechanisms that address nostalgia and Singapore Authority (IMDA) and the Asian Film Feedback Mechanisms cinema. Archive, as well as the community of institutions and individuals who read Feedback Mechanisms NMS’ collaboration with the Asian Film and contribute to the Quarterly, without Archive (AFA) continues with a look into whom this issue would not have been its archives of Medium Rare, a motion possible. picture film that sought to tell the tale of Adrian Lim, the Toa Payoh ritualistic killer. NMS Editorial Team By Kenneth Tay I.

6 7 II. Since the early days of cinema, cities have always held a special place, both as subject matter and as screening locations themselves. From the first actuality films to the genre of city symphonies, there is, as Tom Gunning reminds us, a strange mise-en-abîme between the city and cinema: audiences would pour in from busy city streets into the theatres often only to see, there projected onto the

screens, images of busy city streets.i The experience in the cinematheque essentially paralleled the experience of entering into a hall of mirrors.

III. 8 9 Shot in Paris of the 1960s, Playtime (1967) was also famous for having had an entire set built within the city. “Tativille”, as it was called, even had its own dedicated power plant to continuously supply the instant city with permanent lighting. A city built within the great city of Paris, it was almost as if the film had demanded a city to call its own. Not a single brick remains today, but imagine if Tativille had been preserved, museumised even, while the rest of the city continued its acceleration into the future.

IV.

10 11 V. J.G. Ballard’s novel Concrete Island (1974) is often described as an urban “update” of the Robinson Crusoe narrative. It’s not difficult to see why such a comparison should arise; although we should add that rather than a castaway island, the protagonist in Ballard’s novel is marooned onto a traffic island instead. A concrete island in between the highways. The horror of Ballard’s novel isn’t so much that no one passes by to help (as perhaps was the case with Crusoe’s island), but that everyone is passing by. No one can help.

No one can stop in the relentless traffic of the highways. 12 ii 13

VI. In 1964, when Jacques Tati began building his film set for Playtime, another significant construction was taking place in Singapore. Built in 1964, transitioning between the great Malaysian project inaugurated the year before and Singapore’s eventual independence the year after, the Pan Island Expressway (PIE) can be considered one of the earliest trans- mission mediums for the nation-state. Stretching over 42 kilometres in length, the longest and oldest highway in Singapore, the PIE allowed information (e.g. goods, people, services) to traverse the entire length of the island in the fastest way possible on land. VII.

14 15 VIII. Forty years after the construction of the PIE, the film-maker Tan Pin Pin records the jour- ney across the highway in a single take. Beginning at Changi Airport and ending at Tuas Check- point, 80km/h (2004) is a cross-country document of a car/camera traveling at the speed limit of 80km/h on the PIE. As the film-maker herself puts it, the video’s duration, a mere 38 minutes,

is its message. iii

16 17 80km/h premiered that same year at the first ever Singapore Short Cuts jointly organised be-

tween the National Museum of Singapore, the Substation, and the Singapore Film Commission.iv

What was it that was racing through the minds of the audience as they sat through all 38 min- utes, knowing that the time spent in the cinematheque mirrored essentially the time taken to tra- verse the entire length of Singapore on the PIE?

IX. X.

18 19 XI. At one level, the title of the film Eating Air (1999) refers clearly to the colloquial slang in Singapore for a joyride. Yet, it also points to a desire to devour emptiness, and to do so on speed. The film is more than a good-humored caricature of the beng and lian subculture of the 90s in Singapore; it is also a portrayal of an entire generation’s anxiety, towards a society’s expectations of them to make productive lives for themselves. Instead of chasing down their goals and purposes in life, our protagonists, Ah Boy and Ah Girl, experience speed and the drive as pure enjoyment in itself, emptied of any purpose.

20 21 The last scene in the film shows Ah Girl walking away rather list- lessly after discovering what is possibly the deceased body of Ah Boy. As the camera zooms in to take a closer look, something else happens. We take in, once more, the city lights, the city’s roads, and a reflection of ourselves in Ah Girl:

Have we, in all this time, been conscious that this city merely demands of us to be constantly on the move? XII.

22 23

Image credits I. Film still from Playtime; Image courtesy of Jacques Tati. IV. Film still from Playtime; Image courtesy of Jacques Tati. VII. Screen grab from 80km/h; Image courtesy of Tan Pin Pin. IX. Screen grab from 80km/h; Image courtesy of Tan Pin Pin. X. Film still from Eating Air; Image courtesy of Jasmine Ng and Kelvin Tong. XII. Film still from Eating Air; Image courtesy of Jasmine Ng and Kelvin Tong.

i Tom Gunning, cited in Helmut Weihsmann, “The City in Twilight: Charting the genre of the ‘city film’ 1900–1930”, in Cinema & Architecture, eds. Francois Penz and Maureen Thomas (London: British Film Institute, 1997), 8. ii An earlier version of this section appears in Kenneth Tay, “Escape Velocity: An Afterword”, in CONCRETE ISLAND, eds. Kenneth Tay and Luca Lum (Singapore: NUS Museum, 2016), 126. iii Tan Pin Pin, “80km/h”, tanpinpin.com. iv For more on Singapore Short Cuts, see Kathleen Ditzig, “The NMS Cinémathèque in Context: A History of Film Programming at Singapore’s Social History Museum”, Cinémathèque Quarterly Vol. 1 (January–March 2017): 6–13. v For a more developed account of speeding with reference to traffic accidents in Singapore, see Ho Rui An, “An Accident: Two Views from the Dashboard”, in CONCRETE ISLAND, eds. Kenneth Tay and Luca Lum (Singapore: NUS Museum, 2016), 60–69. During the lull of local film production fervour in the 1970s to 1980s, we could “To Each His or Her count only a handful of individuals or film companies who risked financial loss and ridicule in their attempts to revive the Own Ambition” then moribund film industry here. The Chong Gay Organisation, which was established in the early 1960s, was one such company. In the mid-1970s, it made three local films in rapid succession. The third and final production, Two Sides of the Bridge, though an unsuccessful financial venture, is well remembered even till today.

“Healthy” beginnings

Chong Gay was founded in October 1964 by a entrepreneur, businessman and philanthropist Koh Tian Kit as Chong Chong Gay’s envelope design from 1966, with the Gay Film Co. Ltd. Chong Gay, which company name, logo and address. On the back of the envelope was an advertisement for the film they literally translates to “an integration” (of distributed – My Darling Grandchild that starred child arts) in Chinese, was born out of Koh’s actress Fung Bo Bo. (Image courtesy of Wong Han Min) 24 belief in cinema as a cultural tool and of 25 its potential to wield a positive influence on society. the Gay World Amusement Park in July 1968. First opened in 1945, New Victory To that end, Chong Gay started Theatre was rebranded as a Chong distributing “popular films of artistic Gay movie theatre in July 1968, the value”1 from Hong Kong and Japan to the company’s first in Singapore. Singapore- market. Supporting this agenda were Koh’s sons and Chong A year later, in August 1969, Chong Gay Gay’s managing directors, Koh Seng took the next step of broadening its Leong and Koh Seng Guan, as well as film film supply sources. It wanted to avoid A concise history director Tang Pek Chee (Lion City, 1960) screening what it defined as exploitative lending support as general manager. and profit-driven movie-making works coming mainly from Hong Kong and of the Chong Gay The film distribution and exhibition Hollywood. Instead, Chong Gay picked market in the 1960s was dominated up local distribution rights to first-run by Shaw, Cathay, Kong Ngee and Eng films produced by four major movie Organisation in Wah, but Chong Gay planted itself firmly companies from Hong Kong known as among these heavyweights with its “Great Wall”, “Phoenix”, “Sun Luen” and foray into film exhibition. Chong Gay “Fei Lung”. While the films made by these Singapore By Toh Hun Ping & Yang Yanxuan first acquired the old Victory Theatre at firms were well-celebrated, they made a

Top row to bottom left The changing logos of Chong Gay Organisation. Bottom right Logo of Overseas Movie Organisation. 1 “An Announcement by Chong Gay Film Co.” Nanyang Siang Pau, 4 June 1965, p. 8. The opening film of Chong Gay’s New Victory Theatre The New Victory Theatre at Gay World Amusement Park. was Eternal Love, a Hong Kong Cantonese romantic (Images courtesy of Wong Han Min) melodrama starring Nam Hung and Lu Kei.

splash less for its titillating content but by the new flagship Golden Theatre, and for the heavy moralising and “healthy the building of Kallang Theatre, their content and function” inherent in their second theatre complex. These cinemas narratives. For their espousal of socialist were considered modern for their time – agendas in their works and receiving envisioned as part of mixed-use buildings support from the Chinese communist like the many office-cum-entertainment state in the making of their films, these complexes in Singapore today. Top Handbill advertisement of colour films were considered examples of “left- films distributed by Chong Gay and wing” filmmaking. Contemporary audiences may be produced by four major film companies 26 familiar with Golden Theatre’s old cinema from Hong Kong. They were screened at 27 the Palace and Galaxy Theatres. (Images To counter competition for audiences halls that have since been operated by courtesy of Wong Han Min) from Shaw and Cathay conglomerate Rex Cinemas and The Projector. When chains, Chong Gay sought the collab- Golden Theatre officially opened in Right Handbill advertisements of social- realist dramas My Home, But Not Sweet oration of now-defunct independent October 1973, the 2,000-seat theatre (1969) and Spring Summer Autumn & theatres like Palace Theatre, Diamond was the largest in Singapore, putting Winter (1969). They were Mandarin colour Theatre and Galaxy Cinema in a bid Chong Gay on par with Cathay and Shaw films produced by Hong Kong’s Great Wall Movie Enterprise Ltd and Sun Luen to form a cinema chain that showcased as a cinema titan. This new status was Film Co. respectively, distributed by these “left-wing” films. In 1969, also in no small part due to Chong Gay’s Chong Gay and screened at the Palace Chong Gay Film Co. also renamed success in becoming the first exhibitor and Diamond Theatres. (Images courtesy of Wong Han Min) and inaugurated itself as Chong Gay in Singapore (other than the Cathay and Theatres Ltd,2 reflecting its goal to Shaw Circuits) to obtain the rights to bolster its presence in the local film first-run major English language films, exhibition and cinema operator market. such as The Godfather (1972) and The Sting (1973). BIG SCREEN MODELS The fact that Chong Gay’s cinema Part of Chong Gay’s expansion plans screens presented both noble-minded, included the construction of the moralistic heroes and treacherous 24-storey Golden Mile Tower, anchored mobsters engaging in violent shootouts

2 “Chong Gay Theatres Ltd organises inauguration ceremony.” Nanyang Siang Pau, 6 September 1969, p. 20. A 1971 calendar promoting leadership sparked a series of ventures and actors’ training classes were held Golden Mile Tower. Chong that Chong Gay is now remembered under the supervision of Hong Kong film Gay Theatres Ltd was named as the developer. for. In April 1975, Lim declared Chong producer-director Chan Man. Chan was (Image courtesy of Wong Gay’s plans to form a movie production an apt mentor, having directed China Han Min) arm in Singapore to make films that Wife (1957), a Nanyang-themed film reflected local interests and themes.5 produced by Kong Ngee that was shot Much like his predecessor Koh, this on location in Singapore.6 movie-making impulse stemmed from Lim’s view that the films showing in local With Chong Gay, Chan directed their cinemas were overtly commercial and first two films under pseudonyms7, Crime presented a corrupt, degenerate and Does Not Pay8 (1975) and Hypocrites9 subversive culture. To right the wrongs of (1976), both social realist dramas made screen culture and address the dearth of in Mandarin. While members of the “healthy” films in the market, Lim thought cast were all Singaporeans, including it pertinent that Chong Gay embark on experienced stage, television and radio producing their own crop of socially play actors and actresses, local crew conscious films. learnt on the job from crew members brought over from Hong Kong during the Armed with a moral mission, Chong three-month shooting period of these Gay started earnestly importing filming two films. equipment from overseas and engaging foreign film production experts to guide Crime Does Not Pay was more well- and mentor local crew. Recruitment received by audiences than Hypocrites, 28 29

3 Major film companies like Shaw and Cathay were contractually bound to choose between importing or exporting films from and to the “free world” markets of Taiwan and handling films from communist China or “leftist” Hong Kong film studios. The exclusivity of such deals might have paved an opportunity for Chong Gay to become the sole promoters of leftist cinema in Singapore. In fact, Chong Gay was the only exhibitor of films produced by the state-run propaganda department in communist North Korea. 4 Prior to taking up leadership at Chong Gay, Lim’s name had already been made with the establishment of was not hypocritical for Chong Gay even Raising cast, several businesses in Singapore. Some of these are still household names, such as Overseas Emporium, a departmental store that retailed China-made goods and stands at People’s Park Complex today. as the operator continued to champion crew and morals 5 “Chong Gay Organisation will set up film production department for making movies with local themes, in “healthy content” in Cinema. Their time for the Asean Film Festival.” Nanyang Siang Pau, 30 April 1975, p. 29. preference for conscientious messages While Chong Gay was scoring these 6 As a genre, Nanyang films portrayed exoticised traits of an amorphous Malaya region that foreign audiences lapped up. Popular elements of Nanyang films included shots of tropical backgrounds and of “healthy” films was perhaps made external deals with Hollywood-linked swaying coconut trees, singing actors, men in sarongs and references to what was seen as the prime distinct with the decision to open Golden distributors and “left-wing” film beverage of the Straits – Nanyang coffee. Theatre with Rebirth of a Deaf Mute, companies, things were beginning to 7 Inspired by the trend in overseas Chinese stage and left-wing screen productions, cast and crew in Chong Gay’s film productions often took on pseudonyms. The screenplay for Two Sides of the Bridge, a Great-Wall produced film, instead of the shift internally in the company. Before Chong Gay’s third feature, was written by “Lim Ann” or Lim Meng Chew, already an accomplished Hollywood blockbusters the theatre had Golden Theatre opened with Rebirth of journalist and writer and director for the stage. He co-directed the film with “Chen Ge”, known off- been contracted to distribute and screen. a Deaf Mute, Koh Tian Kit, the founding screen as Tan Chang Meng, also an equivalent polymath in the fields of journalism, film criticism and stage directing. The composer for the film’s theme songs was credited as “Zhu Ye” or Reuben Yap. Lead director of Chong Gay, passed away in roles in Two Sides of a Bridge, were taken up by Chan Pong Koon (“Fang Liang”) and Tay Lee Meng (“Tay Rebirth of a Deaf Mute was a social realist April 1973. Seen Yei”). drama portraying the injustice of child 8 Crime Does Not Pay was a family drama revolving around a tyrannical and unscrupulous father figure involved in drug trafficking. But the subject matter was also a fitting one as the country was grappling labour and the poor working conditions Within two years, the control of the with growing substance abuse during the time of its premiere at the 5th Asian Film Festival in Singapore in a shipyard run by an oppressive owner. organisation shifted into the hands in November 1975. Subsequently screened in Chong Gay theatres, the film and its strong social Chong Gay’s choice of this film to open of its vice-chairman and managing messages received positive feedback from audiences. 9 A satirical social comedy, Hypocrites follows two families which cross paths – one ensconced in the Golden Theatre could be seen as a move director Lim Djit Sun, a businessman trappings of wealth and indulgence in decadence and debauchery, and the other working their way up in against the grain of the local film market.3 and entrepreneur from Indonesia.4 Lim’s society under the watchful and fatherly eye of a frugal and diligent food hawker. Top Publicity brochure of North Korean propaganda film A Flower Girl (1972), 30 which was based on a revolutionary opera 31 written by Kim Il-sung, then-leader of the communist republic. The film was dubbed in Mandarin by China’s Changchun Film Studio and screened in Chong Gay’s Kong Chian (Toa Payoh) and Zenith (Tampines Road) theatres in November 1973. (Image courtesy of Wong Han Min)

Left Film poster of Two Sides of the Bridge. (Image courtesy of Wong Han Min)

1st from bottom left Newspaper advertisement of Crime Does Not Pay.

2nd and 3rd from bottom left Advertisements of Hypocrites in the local Chinese and English press. (Images courtesy of Su Zhangkai) but what struck observers in the In contrast to the typical kungfu flicks promotion of the two films was Chong and Qiong Yao romance melodramas Gay’s emphasis on the casts’ collective showing in local cinemas at the time, effort as compared to other film Two Sides of the Bridge appealed to companies which stressed individual audiences with its “healthy”, realist stardom and relied on sensationalist portrayal of lives in urban Singapore marketing. Sadly, these observational and rural parts of Malaysia. It could footnotes in archived film criticism are almost be perceived as exemplar of a all that is left of both films. The films were kind of local film-making that audiences reportedly lost in a fire in a Hong Kong preferred to be devoid of crass warehouse.10 commercialism, shock tactics, lurid sex and violence. The last accolade: Two Sides of the Bridge For all its acclaim, Two Sides of the Bridge did not do well at the box Two Sides of the Bridge was a stand-out office. For a while, the Chong Gay film for Chong Gay, fondly remembered film production team was undaunted. as the first and only Chong Gay film They continued their filming efforts by made by an all-local cast and crew (in producing short documentaries and this case, referring to both Singaporeans participating in film shoots here by Hong and Malaysians) and considered a Kong film companies, biding their time truly local accomplishment in feature for opportunities to carry out production film-making.11 on three scripts that had been written – 32 namely, Three Female Students, Upstairs 33 The film chronicles the relationship of a Downstairs and Ghost Worshipper. young couple, Rufei and Lingfeng, who face the pressures of living in a rapidly In the meantime, the organisation transforming and materialistic Singapore. expanded its theatre network, opening While Lingfeng perseveres at her day job the 2,400-seat Kallang Theatre in in a textile factory and night classes to April 197812 and building cinemas in the improve her skill sets, Rufei is lured by a new housing towns sprouting across high-paying but dubious job at a money- the island. In the midst of this, Lim lending firm which eventually entraps him established Overseas Movie (Pte) Ltd in risky investment schemes. To evade and managed it concurrently with his heavy debts, Rufei returns to his rural Chong Gay.13 home in Kelantan and finds some brief respite and quietude before becoming By then, China was in its post-Mao era embroiled in a ploy with drug traffickers. and the Overseas Movie-Chong Gay

10 According to Tan Chang Meng, co-director of Chong Gay’s third local feature production, Two Sides of the Bridge. 11 The film premiered in December 1976 at the Golden Theatre and subsequently enjoyed retrospective screenings in 1990s and during the 11th Singapore International Film Festival in 1998. In April 2017, Production photos of Two Sides of the Bridge, on location in Kelantan and Terengganu, on the east coast of several cast and crew members came together for a retrospective screening programmed by the peninsular Malaysia. From Silat Weekly Issue #9, published 15 July 1976. (Image courtesy of Su Zhangkai) National Museum of Singapore Cinematheque. Left Film-still from Two Sides of the Bridge. Standing in the middle is Choo Siew Fong, who is now still acting for local television. She was also Chong Gay and Overseas Movie’s publicity manager in the 1980s. (Image courtesy of Wong Han Min)

Right Film catalogue of China Film Festival ’85, organised by Overseas Movie. In the catalogue is a map showing the distribution and photos of cinemas owned by Overseas Movie (Pte) Ltd in Singapore. (Images courtesy of Wong Han Min)

theatres began screening Mandarin films Chong Gay and of the Princess Many thanks to Wong Han Min, Su produced by studios there. Convinced Theatre Past: “To each his or Zhangkai and Koh Eng Soon for their of their high production standards her own ambition” guidance and for sharing with us their and cultural value, Lim was tireless collection of movie memorabilia, old 34 in marketing these films even when The cinemas belonging to Chong Gay newspapers and film magazines. We also 35 they risked putting the company at and Overseas Movie have long passed extend our gratitude to Mr Tan Chang financial risk. Lim’s persistent efforts into the hands of other and newer Meng and Mr Reuben Yap (director extended to organising China Film players; some taking on merely their and composer of Two Sides of the Festivals from the mid-1980s onwards, names as in the case of Princess Theatre, Bridge respectively) for agreeing to be which included inviting delegates from others their architecture such as The interviewed. China to Singapore for film exchange Golden Theatre. But we can recall Chong programmes.14 Gay today as a notable if not persistent Overseas Movie’s “New Crown” and “New Town” cinemas player that sought to revive a moribund in Ang Mo Kio, before they were redeveloped into Djitsun Mall. Circa 1990s. (Image courtesy of Wong Han Min) These signalled opportunities for film industry with films bearing moral Chong Gay’s production arm to start messages. Chong Gay charted its own making films again as the idea of China- course in film history against risks of Singapore co-productions was raised financial loss and even ridicule in their during these exchanges. However, Lim attempts. As the late Lim Djit Sun put it passed away abruptly in 1987 and plans in response to talk that he was unwise to for such co-productions were dropped. promote unprofitable Chinese films in the The fourth Chong Gay feature never 1980s, “To each his or her own ambition”. materialised and the lull in local film production extended for a few more years until 1990’s Medium Rare.

12 Kallang Theatre was eventually sold to the government in 1981. 13 Ngiam Tong Hai, “Work on five cinemas costing S10m.” The Straits Times, 23 September 1981, p. 9. 14 Chong Wing Hong, “More China-made films on the way.” The Straits Times, 10 October 1984, p. 9. Be part of our

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Sign up to become an SGIFFriend today at sgiff.com/sgiffriends. In film production, people often know of the directors and producers, but tend to be unaware of those who work behind the scenes. Get to know two established names in the local film industry who give sound to film – Alex Oh, a film composer who has composed for over 17 feature films and television dramas, and Rennie Gomes, the sound engineer and builder of Singapore’s first Dolby Certified Film Mixing facility at Yellow Box Studios. Here, they trade questions on their creative process and glean insights from each other.

Both Rennie and Alex are also jury members of the National Youth Film Awards 2017, an annual local short film competition presented by *SCAPE and the National Youth Council. The National Youth Film Awards look to discover and celebrate the best emerging talent for technical film craft in Singapore. W ith 1. How would you describe the It starts with talking to the director importance of a film score to a about the heart of the story and the

A lex film? What, to you, makes a good concept of the score. From there, composition? my approach differs depending on a number of factors. For example, is the Good compositions add an extra score for film or TV? What is the story, O h dimension to film, expressing concept, and genre? Is it going to be what words cannot say. They small and intimate, medium or a big 38 heighten a film’s intensity and score? Of course, factors like time and 39 drama, connecting with and touching budget also affect the film score. audiences on another level. Thematic film scores can define a film with 3. What value have you found in cross- a catchy tune that audiences can cultural collaborations, for example remember long after they leave the with the Sydney Scoring Orchestra cinema. and now in Dublin?

A good composition will therefore In cross-cultural collaborations, I have be a score that tells the story. This learnt a number of things: means a number of things. The theme, orchestration and performance of the Performance: During the recording of Alex Oh × Rennie Gomes music must blend well with the picture the score for Bait, The Sydney Scoring and work together as one. Orchestra was amazing. There Hear from the were 30 cues of music and all were 2. You have worked on many different recorded within 6 hours. They saw the types of films from horror to comedy, score for the first time and other than experts what and on a range of productions from two cues, the rest of the cues were all television to independent films. How one-take recordings. Because of the does your method in developing great performance from the orchestra, goes on behind the scores differ from genre to genre? it brought the film a couple of notches higher in terms of production value The method stays the same while and quality. scenes in a film the approach differs across genres. Teamwork: On the score of Bait, there whom I could learn from locally or who W ith 1. What is a common Creating sounds as the characters was great teamwork from Trackdown, was willing to share that knowledge misconception that people have moved from one room to another was an audio post-production company with me. The Internet was limited about the importance of sound in always exciting as I had to keep the R ennie in Sydney. From the music editor and at that time, so I learnt on the job. I films or how it works? audience guessing what was around orchestrator, to the copyist, score read lots of books and made lots of the corner. The best part was giving supervisors and sound engineers, mistakes, which I learnt from. Now A common misconception about the ghost character a voice. everyone was in their specific field I would like to share the experience sound for film is to use most, if not in creating the score. Everything was that I have gathered. Two years ago, I G omes all, of the sound recorded on set In Dead Mine, there were some pretty efficient, which produced fast, high- started giving talks to schools that as is. Many forget that it needs the neat fight sequences but I had the quality results. have music or film courses. Many were same attention to detail as when most fun characterising the zombie- responsive and I am very glad to share editing the pictures. Bad cuts or like voices. Scenes in caves had to Ensemble Sizes – While pursing my that knowledge. noisy audio is often disruptive to sound like these monsters were all M.A. in Scoring for film in Dublin, I the audience and breaks the flow around even when you couldn’t see had the opportunity to write music for The next step for the film industry as a in good storytelling. Levels of voice them and moving them in surround is different ensemble sizes. From string whole will be to have a greater variety and background noise may vary from always exciting. quartets, to medium-sized 29-piece of local films in Singapore. In the two shot to shot and need to be adjusted. orchestra to huge 110-piece orchestra years that I have been on the NYFA 3. Is there a difference in the way you recording in Bulgaria, the different jury panel, I have seen a variety of Some of the best dramas, even if there design sound for commercial work ensemble sizes add value and quality good quality films from students. The are no stunts or action sequences, and for independent films, since 90 to a film. next 5 to 10 years will be interesting have nice clean dialogue, non-jumpy per cent of Yellow Box’s work comes as these student film-makers become levels from cut to cut, well-designed from advertising? 4. Are there any other composers professional film-makers. A greater background sounds, and music that whose work inspires you? variety of stories will result in more flows smoothly in and out enhancing Commercials are much shorter forms 40 interesting scores. If this continues, it emotion and drama. It is often said of communication compared to films. 41 Beethoven, Stravinsky, Ravel, Holst, will be great for the next generation that the best sound in drama is when So we have a much shorter time to Penderecki, John Williams, Hans of film composers. The only question it is not noticed and that, in itself, is establish the story and we have to Zimmer, Howard Shore, Christopher is whether they are equipped and an art. Keeping it natural even when deliver the plot as tightly as possible. Young, Ryuichi Sakamoto. versatile enough to handle different adding sound effects or even foley genres of films. How can they work is always crucial. It's about never We have achieved greater expertise 5. You have conducted master classes, with the director effectively to distracting the audience from what is for commercials after having worked and like Rennie, are involved in the communicate the story through the happening on the screen. on a number of films, because in films National Youth Film Awards (NYFA). score to the audience? we go for details that would seldom be Why is investing in the next generation 2. Having worked on local films such noticed in a short commercial. important to you? What are some of The symphonic sound is made to as ’s and your aspirations for the future of film accompany films, giving it that local anthology , is there After having worked on so many films, scoring in Singapore? cinematic, larger-than-life sound. I any particular local film or scene we can't help but apply that same level would like to see more orchestra where you think sound was employed of detail even in our commercials. It is a life’s journey for one to master recordings for scores in our local films particularly well to bring out different his or her craft. If someone who is in and believe that this would greatly layers of the film? Funnily enough, most commercials front of you on that journey guides increase our film production value and have now become longer and have a you, you will avoid some mistakes quality as a whole. I find working on horror films the most greater emphasis on storytelling and that were already made and end up challenging sound-wise. Horror is characters as opposed to just selling making new mistakes to learn more nothing without good use of sound or a product. It’s all still about engaging and achieve even greater heights than even the lack of it. Sometimes silence an audience with good storytelling. the person before you. It is always gives the best scare. I worked on two We're seeing a fusion of branded good to share knowledge. When I first locally-produced HBO thrillers. Grace content with good storytelling, with started in 2001, there wasn’t anyone was worked within confined spaces. less emphasis on the product and more on the philosophy of the brand The most rewarding aspect of any in the story. sound design job is getting to see the sound gel with the pictures and Film That being said, I still enjoy doing film even bring a different dimension to the most as it is the purest art form them. We sometimes get productions of moving visuals on a wide screen, where the director or producer asks where we can deliberate and add us to help "save" the pictures because pauses when we need to emphasise they encountered many problems a moment. There is also a sense of during production. We do our best and liberty in creating a soundscape sometimes it is pure magic when we reviews where decisions are made by see the delight on their faces after it ourselves and the director and not all comes together. “different committees of people”. The sense of experimentation in 5. Where do you see the post- films is definitely more thrilling once production industry in Singapore in 10 we come across the right film and years’ time? Any words of advice for o f with a good collaborative team of struggling post-production students individuals who are on the same page out there? throughout the creative process. The democratisation of the media 4. What is the most difficult thing is upon us. Anyone can make a film about being a sound engineer, and these days. Software is cheap, even selected what is the most rewarding? free. It all boils down to the art. It's like 42 writing. Anyone can fill a page with 43 Sometimes the most difficult thing words. But very few can fashion them about being a sound designer is letting into a good story that will move the go of an idea that you think works human spirit. well, but ends up not making the final films cut. Music and sound can be a very Specialty films and “Big Fx” films subjective medium. will always be made and the need for specialists will always be there. Post- Film is one of the most collaborative production professionals have to be forms of art. There is no doubt that specialists in their fields and have the director steers the boat, but he to constantly yield innovative ideas, is always guided by an experienced especially in the use of their craft. from crew. This collaborative process, Film-making will always evolve with though great, also has its ups and technology. But good storytelling will downs. Clear communication is the always stay. key. Being precise and asking the right questions is always essential to meeting a successful brief. Getting 7 into the story and the mind of the director are key attributes in building a good soundtrack. After all, the soundtrack is always about emotion. Letters Young Critics’ Pick — A Review of landmarks, such as the old Tekka Market Grandma Positioning System (GPS) and the Old National Library Building. is fundamentally a film about how our Kelvin Tong's Grandma Positioning System (GPS) The family’s indifferent and impatient individual and collective memories By Mary Ann Lim attitudes towards the traditional rituals are both rooted in and transcend and Ah Ma’s impassioned monologues to physical space by creating enduring her husband parallel public sentiments stories about the past. By articulating on urban development: a relentless call historical narratives that do not simply for modernization and redevelopment, chart out the Singapore Story, Tong and yet also a call for greater heritage allows the audience to narrate their conservation. own experiences in the present and illustrates how memory-making can be a Ah Ma’s concern that the ghosts of the democratic process. In giving due dignity dead cannot find their way back home is to the new forms which traditions take not as absurd as one might initially think in the film, we are all similarly invited to it is. Instead, it references the anxieties continuously reposition ourselves within of all Singaporeans trying to find their the transient landmarks and events that way in a constantly changing city. Ah mark our lives. Ma articulates a collective nostalgia, where individuals seek to navigate their “Geography is never just way back to a common landmark and a geography, and buildings are common identity. never just buildings. They are repositories of shared Finding your way memories for a lot of people.”1 44 – Kelvin Tong, Director of GPS 45 Where the sense of loss (of family) is Grandma Positioning System, Kelvin Tong, 2015 never explicitly articulated by the family members nor by the film itself, it is Grandma Positioning System (GPS) tells narrating events and directions to his characterized instead by a literal loss of the story of a young boy who goes to grandparents, and by doing so, changes direction. However, in the scene where Johor every year with his family to pay his family’s attitudes toward the rituals. the young boy manages to find his way respects to his grandfather, as part of back to his grandparents’ tombstone, he a Chinese tradition associated with the Grandma Positioning System repositions not just himself, but his family Qing Ming festival. In spite of travelling (GPS): Differences between towards the right direction. In dutifully to the same graveyard every year, the the Past and Present taking up Ah Ma’s mantle, the young boy family would always lose their way if not connects the traditions and memories of for the directions provided by the boy’s Grandma Positioning System (GPS) the past, to a developing present. More grandmother (Ah Ma). Ah Ma acts not captures the generational differences significantly, he represents the ways in just as the navigator for the family, but for within a typical Singaporean family. which historical memory can find fresh her deceased husband as well. During The film represents the gradual meaning in a new generation that is each visit to her husband’s tombstone, devaluation of traditions, through the simultaneously able to reposition itself she recounts the journeys undertaken differences between Ah Ma, who insists through history (as demarcated by family, and important events of both the family on her duty, and the rest of her family, places, events or rituals), and eventually and Singapore in that past year. particularly her son and daughter-in- into moulding the future. law. Loss of traditions is paralleled with The turning point in the film is the a loss associated with the changing

implied passing of Ah Ma. Whereafter, landscapes in Singapore which, as 1 Han Wei Chou. Quoted in “Kelvin Tong gets personal with 7 Letters short, Grandma Positioning System the young boy takes up Ah Ma’s role in narrated by Ah Ma, includes the loss of (GPS)”. Channel News Asia, 22 Aug 2015, Accessed: 14 April 2017. Young Critics’ Pick — A Review of Jack Neo's The Girl and Boo Junfeng's Parting: Nostalgia and Space in Singapore By Ho Xiu Lun

Parting, Boo Junfeng, 2015

In Parting, film-maker Boo Junfeng experience a sense of displacement presents a bittersweet love story and nostalgia for what once was, much of an elderly Malay man suffering like the protagonist who feels foreign in from dementia, who boards a train to a place he once called home. The Girl, Jack Neo, 2015 Singapore to track down his old love. His search leads him to a Singapore A film’s setting can carry deep Following SG50, Singapore’s jubilee The Girl by Jack Neo begins in a kampung that is beyond recognition and the sociological meanings. In The Girl and 46 year celebrations in 2015, films have and follows an innocent love story of realisation that his old love had long Parting, changes in places give way to 47 increasingly featured nostalgia a girl’s crush on a boy. In the film, the since migrated to Australia with her a sense of nostalgia. The films highlight in presenting personal and social boy is rescued by the girl from a loan spouse and children. A key setting for the specific periods of change in Singapore’s memories of Singapore’s history. Among shark. However, before he repays film is the Tanjong Pagar railway station, history that are often forgotten today the many works created as tributes to her kindness, she moves out of the a heritage site which is now gazetted (Urban Renewal Programmes and the Singapore’s Golden Jubilee, 7 Letters kampung. As with some of his previous for conservation. The film’s love story separation of Singapore and Malaysia), was an anthology of seven short films by films such as Homerun, Neo continues to parallels the ties between Singapore and except by the people who lived through seven local film-makers that presented portray the kampung as being of a time Malaysia. For many who grew up during them. Yet, these events are worth unique interpretations of home. In of a stress-free and intimate communal the time of Singapore and Malaysia’s remembering as they still inspire many particular, two of the seven short films, living. The last scene, in which the girl merger and separation, the railway was Singaporeans, both those who lived The Girl by Jack Neo and Parting by Boo leaves the kampung in a lorry while the their only link to Malaysia and means through these changes and those Junfeng, addressed the relationship boy chases the vehicle, points to the to re-connect with their loved ones in a regaled with stories of them. If The between Singapore’s rapid development inevitability of urbanisation. Nostalgia newly neighbouring country. Memories Girl and Parting are examples of how and our identity as Singaporeans. The is often symptomatic of people seeking are anchored in the materiality of a nostalgia can be tied to a place then making of a place is linked to individual respite in the past (idealised through place.2 Through a specific place, these perhaps a film’s setting, much like a and collective histories . Hence, nostalgia mediated and selective memory) while memories form the identities of an building or specific space in Singapore, tied to specific places is often a result facing deficiencies in the present.1 Neo’s individual or even a nation. However, as is only as significant as the feelings and of a period of transformation and the glorification of the kampung, and in these places change and evolve, people meanings we attribute to it. symbolic values that people attributed to turn the kampung spirit where organic the place before its change. The Girl and communities foster intimate kinship Parting are two films which feature and ties, perhaps points to the noticeable 1 Christopher Shaw & Malcolm Chase, “The Dimensions of Nostalgia,” Christopher Shaw & Malcolm are themselves nostalgic for spaces in lack of such a spirit in present-day Chase (eds.), The Imagined Past: History and Nostalgia (Manchester: Manchester University Press, 1989), pp.2–4. Singapore’s past. communities. 2 Yeoh, Brenda, and Lily Kong. “The Notion Of Place In The Construction Of History, Nostalgia And Heritage In Singapore.” Singapore Journal of Tropical Geography 17, no. 1 (1996). appeal, two American actresses were film, along with other sponsors. The cast for an interracial romance with the report prompted the EDB to make a Delving into the lead character. written response to clarify this mis- representation. Most of these plans were not realised. Archive: Retracing The other side of the film: American actor Dore Kraus was cast making medium rare as the character of “Daniel” after Kay Medium Rare Siu turned down the role. American Medium Rare is at present the largest actress Darcy LaPier, who was to play and most comprehensive memorabilia By Chew Tee Pao, Archivist, Asian Film Archive one of Daniel’s wives, pulled out and was collection of a Singapore film preserved replaced by Singapore-based actress- by the AFA. Few films have such a model Jamie Marshall. The writer James large memorabilia collection. Given the Best (after Lancaster dropped out) convenience of current digital formats, left the project and the film’s co-stars filmmakers may see little urgency in Margaret Chan and Rani Moorthy re- preserving physical records. Yet the wrote the script just a week before filming. importance and relevance of preserving Arthur Smith, the film’s director of photo- such materials will only become apparent In 1991, Singapore produced its first itself. It is like finding the missing handle graphy, doubled as director when the over time. After all, if a film can be English language feature film, Medium to a door, if the film can no longer be intended American director Stan Barrett regarded as a historical artefact and Rare. Loosely based on the true story seen. Memorabilia can sometimes be all pulled out and his replacement Tony document, so too should its memorabilia. of Toa Payoh ritual killer Adrian Lim, the that is left of the film. Yeow resigned after the first day’s shoot. film title is a play on the term for a steak Apart from casting woes, sponsorship When I found an old photograph of the 48 cooked medium rare – with some blood I wondered as I sieved through the deals also fell through. Bedok Cinema (now the Bedok Point 49 still in it. collection of Medium Rare: can one Mall) and a hand-painted poster construct an understanding of the film These obstacles and setbacks before advertising Medium Rare in 1991, right I didn’t get to see the film when it was through its memorabilia? While there is and during the production were in the neighbourhood where I grew up, released on 28 November 1991. Medium no way to appreciate the performances documented in The Straits Times, I could imagine what watching the film Rare ran for 16 days in local cinemas and of the actors and the aesthetic quality which also reported that the Economic might have been like, even without having was later screened by cine.SG at the of the film, I can decipher its story and Development Board (EDB) of Singapore seen the film myself. Such is the power National Museum of Singapore in 2006. the intended motivations of the creators. seemed to distance itself from the of related materials. The first time I encountered the film was Information on what went on behind when I interned at the Asian Film Archive the scenes, the efforts of the cast and (AFA). The film had been donated to AFA crew, the wardrobe changes of Margaret and I excitedly helped to process and Chan’s character, etc., are all available. label the film reels. This was the first Without referencing the actual film, we Singaporean film I held in my hands – a are able to get a rare glimpse into the true relic of Singapore cinema! making of Medium Rare through its (non- exhaustive) non-film collection. In the ensuing years at AFA, I came to appreciate the significance of film- On Medium Rare related material. Related materials can vary from a page of the script, to a news The film was slated to be produced clipping or a movie ticket stub. These and directed by Tony Yeow and to star materials can reveal additional details veteran actor Lim Kay Siu as Daniel Wong about the film. Film memorabilia is often Ah Mok. Australian writer Mary Lancaster more profound than watching the film was to pen the script. For international Headline from The Straits Times, 13 April 1991

1 2

Cover of an original pitchbook that was distributed to potential sponsors and distributors.

50 51 3 4

5 6

An illustration of Lim Kay Siu as the character of Daniel.

An opening statement by Errol Pang in the pitchbook. These were the original storyboards that differed greatly from the eventual storyline. Left A page of a media invite on story angles for the film. The Pan Pacific Hotel was a major sponsor of the production, providing accommodation for cast and crew, and housing the office of Derrol Stepenny Productions that produced and financed the film.

Bottom left A media invite to Man Magazine to feature the lead actor Dore Kraus.

52 53

Page 53–55 Film production stills with corresponding script excerpts. 54 55 56 57

Top A page from an original typewritten set and prop list. Right A press conference was held Top centre 1st day of shoot: The on 16 May 1991 at the Pan Pacific Hotel “Peranakan House” used for filming was Ballroom II to mark the completion of situated on Tong Watt Road. filming.

Top right 30th (last) day of shoot: The Bottom right A wrap party was held film officially wrapped up its production (presumably) at Hard Rock Cafe on 14 May 1991. Singapore, which opened on 6 Feb 1990. 58 59

Top left A drawing for constructing a “flower bath altar”.

Top right The clothes worn by the main cast were sponsored by “Man & His Woman”, a boutique at the Promenade on Orchard Road.

Left A shopping list for props to be used in the scene at the Kampong House by Camill (possibly Tan Li Li (the production manager) wrote to the Criminal Investigation Department the prop master or art (CID) to obtain the permit to use blunted knives for several scenes. director). Playback: Kacang Putih Days at the Jurong Drive-in Text by Hannah Yeo

60 Lighthearted moments captured of cast and crew in-between takes. 61

All images courtesy of the Asian Film Archive and Errol Pang (Derrol Stepenny Production) Vehicles at the Jurong Drive-in Cinema (1971) National Archives Singapore, Ministry of Information and the Arts e didn’t go to the Jurong “Wcinema often. You needed a j car to go, or there were taxis, small little lorries, vans… but it was so K·a·c·a·n·g noisy and there were mosquitoes. P·u·t·i·h Half the time the movie would break down and people would come out (of their cars) shouting. Even in the j cinema, people would get so angry and toss their kacang putih cones S·u·g·a·r·e·d to the front… they would toss their P·e·a·n·u·t·s slippers, kacang putih, kacang putih cones, whatever they had in their hands. Good luck if you were Preheat oven to 140 degrees C. Minister for Culture, Jek Yuen Thong learns how to set sitting in the front!” — Eve Tan, on a speaker up at the Jurong Drive-in Cinema's opening. watching shows at Jurong drive-in In a wide, heavy-based pan, com- (1971) NAS/MITA cinema and Kong Wah cinema bine 150 grams fine sugar with 80 grams water and 1/4 teaspoon salt. Bring to a full boil over medium Still can’t heat so that the sugar dissolves, then imagine it? Visit the much beloved add 250 grams skinned raw peanuts. recreation of the Jurong Drive-in cinema Cook, stirring gently but frequently at the National with a wooden spoon, for 12 to 15 62 Museum’s Voices 63 of Singapore minutes. The syrup will first reduce Gallery! to a thick glaze coating the nuts, and then will suddenly crystallise: when it does so, immediately turn off the heat and stir well so that each pea- nut gets thoroughly coated with Patrons buying snacks from a vendor at the opening of powdery sugar crystals. the Jurong Drive-in Cinema (1971) NAS/MITA Scrape peanuts onto a baking sheet lined with baking paper. (Some dry sugar will inevitably be left stuck on Visitors at the National Museum’s very own Drive-in Cinema installation in the Voices of Singapore the pan’s base and walls.) gallery. (Image courtesy of NMS) Bake peanuts for 17 to 20 minutes, id you know that there was an open-air drive-in cinema in Jurong stirring every 5 minutes, until they Dfrom 1971 to 1985? Opened by Cathay, it was the largest in Asia and are pale golden but still coated in the only one in Singapore’s history. Cinema-going was a popular form of thin crusts of white sugar. entertainment in mid-20th-century Singapore and an important part of that experience was the snacks that you could buy at the cinema! From Transfer baking sheet to a rack in a sweet and sour plums, ding ding tang (hard maltose candy) and mai ya tang well-ventilated area and let peanuts (malt candy) to keropok (crackers), a night at the cinema was not complete cool. As soon as they have cooled, without something to munch on. If you’ve never asked your parents about transfer them to an airtight contain- their movie-watching (read: dating) days, try out food scholar and cookbook er. Store in a cool, dry place. author Christopher's home style recipe for kacang putih (assorted nuts and beans). One bite and it will just be like eating it at the cinema, we promise! Recipe by Christopher Tan Writers’ Biographies

Kenneth Tay’s work engages with contemporary media Mary Ann Lim is currently a student of Philosophy in practices and media histories. He previously worked as NUS who aspires to, in some near future, spend her days an Assistant Curator at NUS Museum where he initiated writing about her main preoccupations of film and art, the project CONCRETE ISLAND. He is a recipient of the and sometimes both. 2017 NAC Arts Scholarship, and is currently based in New York where he is pursuing his MA in Media Studies Ho Xiu Lun is a full-time undergraduate at the National at The New School. University of Singapore, currently pursuing degrees in Economics and Business Administration. Other than Yang Yanxuan began her writing career as the co- being an active softball player, she is a film lover and editor of the defunct POSKOD.SG. Since then, she has always had a soft spot for local and Southeast Asian continued to produce print, digital, audio, editorial and films. custom B2C and B2B content on topics relating to film, culture, and medical science. Her writings and stickman Chew Tee Pao is an archivist at the Asian Film Archive. comics can be found at yangyanxuan.com. He strategizes the Archive’s preservation and outreach programmes, and advocacy efforts. Tee Pao has written Toh Hun Ping is a film-maker and freelance film articles on film preservation and contributed a chapter researcher. He runs the Singapore Film Locations on “Independent Digital Filmmaking and its Impact on Archive, a private video collection of films made Film Archiving in Singapore” to the book Singapore in Singapore and maintains sgfilmlocations.com. Cinema: New Perspectives. In preparation for a new experimental film and a monograph on probably the first narrative feature made Hannah Yeo is a History major with one year left at Yale- by Singapore-based film-makers (Xin Ke, 1927), he is NUS College. She seeks kind, passionate communities researching the history of film production in early-mid through creative teaching. In her free time, she plays 20th century Singapore. tennis well, plays the guitar badly and loves organizing themed parties. Alex Oh is a film composer, producer and pianist, with more than a decade of experience, and is one of Christopher Tan is an award-winning writer, Singapore’s most prolific and versatile film composers. photographer, author and instructor whose original His philosophy is simple – to tell stories through music. words, images and recipes centre on food, culture and heritage, and have been published in 12 books and many Rennie Gomes is an award-winning sound designer international magazines. and the backbone of Singapore’s first Dolby Certified Film Mixing facility, Yellow Box Studios. Having worked on dramas and films with HBO, Netflix and a host of international co-productions, he is a much sought-after sound craftsman in his field.