DOCSLIB.ORG

GV25FILMSHORTS.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GV25FILMSHORTS.Pdf For Immediate Release Golden Village launches GV25 FILM SHORTS in support of next generation of filmmakers in Singapore New grant scheme to provide aspiring filmmakers with cash incentive, mentoring from distinguished film directors and in-cinema screenings. Singapore, 6 April 2017 – Singapore’s leading cinema exhibitor, Golden Village, today launched GV25 Film Shorts, a new grant scheme for aspiring filmmakers to make a short film here in Singapore. Working in conjunction with distinguished local directors Kelvin Tong and Boris Boo, the initiative will see three successful applicants receive a grant of S$ 2,000 each to make a short film, with the Best Short Film receiving a further cash prize of S$ 3,000 and the opportunity to be screened in Golden Village’s multiplexes. The initiative has been developed as part of Golden Village’s 25-year anniversary celebrations, and requires the film story line to align with the theme Past, Present & Future. Applications will be judged according to a predetermined points system, with filmmakers for the top eight shortlisted films being invited to present their script to a Judging Panel made up of the two directors, Boris Boo and Kelvin Tong, representation from the Singapore Film Society, YouTuber Tree Potatoes and Golden Village. Speaking about the initiative, director of THE MAID, RULE #1, IT’s A GREAT GREAT WORLD and his latest Hollywood production “THE FAITH OF ANNA WATERS”, Kelvin Tong said: “I am honoured to be invited to be a part of this great initiative. When I was starting out as a filmmaker, making a short film wasn’t the challenge, but getting it seen by audiences was the harder thing to achieve. The fact that the winning short film will be shown island wide in Golden Village cinemas and receive a cash prize is going to be a huge incentive for any filmmaker.” Another industry figurehead to throw his weight behind the project is Boris Boo. Director of LOVE MATTERS, WHERE GOT GHOST, THE GHOSTS MUST BE CRAZY and upcoming feel-good movie LUCKY BOY, Boo added: “I am truly honoured to be a part of the GV25 Film Shorts competition as a judge and I look forward to meeting some of the most creative individuals in Singapore. In this digital age where all of us have smartphones, anybody can make a video. However, not everyone will be able to get their films shown on the big screens, and so what Golden Village is offering the winner of this competition is a truly amazing opportunity to jumpstart their career.” Clara Cheo, CEO of Golden Village Multiplex, said: “We’re very excited to launch GV25 Film Shorts. Golden Village has always been committed to a vibrant film culture in Singapore but this initiative enables us to go a step further by directly investing in home-grown film talent. “I’d like to thank members of the Singapore film community for their support of this important initiative, particularly Boris, Kelvin and the Singapore Film Society for giving their time to participate in the Judging Panel and mentoring the successful applicants. GV25 Film Shorts is a fitting celebration of our 25-year anniversary in Singapore – we’re already looking forward to the next 25 years!” added Clara. GV25 Film Shorts is open to all aspiring filmmakers aged 16-years and over. For further information on GV25 Film Shorts see www.gv.com.sg/gv25filmshorts and follow at www.facebook.com/gvmovieclub ENDS ---------------------- Notes to Editor Please credit photo to: Golden Village Media Enquiries Issued on behalf of Golden Village Multiplex by Roco Communications. For further enquiries please contact: Nick Chew +65 9025 8583 [email protected] About Golden Village Multiplex Golden Village Multiplex Pte Ltd is Singapore's leading cinema exhibitor with 11 multiplexes housing 92 screens with locations at Yishun, Bishan Junction 8, Tiong Bahru Plaza, Jurong Point, Tampines Mall, Great World City, Plaza Singapura, 112 Katong, City Square and VivoCity, home to Singapore’s only megaplex. In November 2014, Golden Village opened GV Suntec City, Golden Village’s new downtown flagship with a total capacity of 1,390 seats, consisting of 8 auditoriums and 3 Gold Class cinemas. Golden Village was established to develop and operate modern, luxurious multiplex cinemas and is the first local cinema to personalize the movie- going experience through its Movie Club program. The prime mover in the introduction of the multiplex to Asia, Golden Village’s first imprint in Singapore was made on 28 May 1992 with the successful opening of the Yishun 10 cinema. Today, Golden Village has a reputation of offering the widest choice of movies, unparalleled comfort, state-of-the-art cinema design, prime locations and technological capabilities such as Quick tix, iGV app and the auto-gate system to enhance the movie-going experience for customers. Established in 1993, Golden Village Pictures (GVP) is Singapore's leading independent film distributor, releasing a wide range of blockbusters such as THE LEGEND OF TARZAN, SAN ANDREAS, MAD MAX: FURY ROAD and AMERICAN SNIPER, to Asian delights that include Jackie Chan’s POLICE STORY 2013, Donnie Yen’s KUNGFU JUNGLE and the all-time highest-grossing Korean movie in Singapore, TRAIN TO BUSAN. GVP is also the top distributor for local films which include director Jack Neo’s LONG LONG TIME AGO and AH BOYS TO MEN series and director Boo Junfeng’s APPRENTICE. For the last quarter of 2016, GVP is proud to bring you SULLY and PASSENGERS, both produced by Village Roadshow Pictures, and Jackie Chan’s RAILROAD TIGERS. .
Load more

Recommended publications
  • Social Construction of Singapore's Humor Industry
    Intercultural Communication Studies XIX: 1 2010 Lin & Tan How Cultural and Linguistic Pluralism Shape Humor: Social Construction of Singapore’s Humor Industry Trisha T. C. Lin & Phoebe Shu Wei Tan, Nanyang Technological University This study views Singapore’s humor industry through the theoretic lenses of social construction. It aims to examine the unique characteristics of Singapore humor and investigate how Singapore’s rojak culture (Chua, 1998) and social actors (content creator, market/audience, and government/policy) have shaped the trajectory of the humor industry. Data were collected through interviews with TV comedy producers, stand-up comedians, and theatre practitioners, as well as through three-month-long observation of local comedy scenes. Thematic data analysis (Miles & Huberman, 1994) was used to analyze transcribed interviews, observational field notes, and second-hand documents. The findings show Singapore humor is characterized by over-the-top visuals, frequent use of “Singlish” and Chinese dialects, satires of current affairs, and influences from western culture. The fear of failure, mianzi (Hwang, Francesco & Kessler, 2003), is Singapore’s cultural trait that hinders the development of Singapore’s humor industry. Its humor content creation relies on a formulaic approach, in order to cater for the perceived needs of mainstream audiences. Moreover, the content censorship, which serves as a crucial means to maintain order and harmony in this multicultural and multiracial society, still restricts creativity in humor creation and partially accounts for the lackadaisical Singapore humor industry. Humor is an innately complicated social phenomenon which can be found universally in all cultures, and plays a central, necessary part in social life (Billig, 2005).
    [Show full text]
  • 08/09 Annual Report
    08/09 ANNUAL REPORT 510 Thomson Road #12-05/06 SLF Building Singapore 298136 Tel: (65) 6354 8154 Fax: (65) 6258 3161 Email: [email protected] Website: www.ncpg.org.sg About the National Council on Problem Gambling The National Council on Problem Gambling (NCPG) is an independent council comprising 20 members with expertise and experience in public CONTENT communications and media, psychiatry and psychology, and counselling and legal services. Its terms of references are to: • Provide advice and feedback to the Ministry of Community Development, Youth and Sports (MCYS) on public education programmes to promote public awareness on Section problem gambling. Chairman’s Message 01 • Decide on funding applications 01 for preventive and rehabilitative programmes. Section • Assess and advise the The NCPG at a Glance 03 Government on the 02 effectiveness of treatment, counselling and rehabilitative Section programmes. Key Milestones 07 • Decide on the applications for exclusion of persons 03 from casinos. Section 04 Year in Review 12 Section 05 Looking Ahead 19 Section 06 Annexes 21 SECTION 1 Several public consultation exercises were conducted to seek public and stakeholders’ views on the casino exclusion measures. The Casino Control (Problem Gambling – Chairman’s Message Exclusion Orders) Rules 2008 was gazetted in December 2008 and the Family Casino Exclusion was implemented in April 2009. Casino Self Exclusion and the Third-Party Casino Exclusion on undischarged bankrupts and recipients of Public Assistance and Special Grant will be implemented by end 2009. This year, we welcomed practitioners from the social, community and education sectors once more at the second Singapore Problem Gambling Conference held in August.
    [Show full text]
  • MEDIA FACTSHEET (15 Mar 2013) Singapore Unveils 320 Hours of Comedies, Entertainment Programmes and Documentaries at Hong Kong I
    MEDIA FACTSHEET (15 Mar 2013) Singapore unveils 320 hours of comedies, entertainment programmes and documentaries at Hong Kong International Film & TV Market (FILMART) The Media Development Authority of Singapore (MDA) will lead 37 Singapore media companies to the 17th edition of the Hong Kong International Film & TV Market (FILMART) where they will meet with producers, distributors and investors to promote their content, negotiate deals and network with key industry players from 18 to 21 March 2013. More than 320 hours of locally-produced content including films and TV programmes will be showcased at the 90-square-metre Singapore Pavilion at the Hong Kong Convention & Exhibition Centre (booth 1A-D01, Hong Kong Convention & Exhibition Centre Level 1, Hall 1A). The content line-up includes recent locally-released film comedies Ah Boys to Men and Ah Boys to Men 2, about recruits in the Singapore military directed by prolific Singapore director Jack Neo; Taxi! Taxi!, inspired by a true story of a retrenched microbiology scientist who turns to taxi driving; Red Numbers by first-time director Dominic Ow about a guy who has three lucky minutes in his miserable life according to a Chinese geomancer; and The Wedding Diary II, the sequel to The Wedding Diary, which depicts life after marriage. Also on show are new entertaining lifestyle TV programmes, from New York Festivals nominee Signature, a TV series featuring world-renowned architect Moshe Safdie and singer Stacey Kent; reality-style lifestyle series Threesome covering topics with Asian TV celebrities Utt, Sonia Couling and Nadya Hutagalung; to light-hearted infotainment décor home makeover show Project Dream Home and Style: Check-in, an interactive 360 content fashion lifestyle programme which uses social media to interact with viewers.
    [Show full text]
  • Cinémathèque Quarterly Vol. 2: April June 2017
    Cinémathèque Quarterly Vol. 2: April_June 2017 About National Museum of Singapore 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 Jack Neo'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.
    [Show full text]
  • Moneyisn't Everything
    16 發光的城市 A R O U N D T O W N FRIDAY, MAY 8, 2009 • TAIPEI TIMES OTHER RELEASES COMPILED BY MARTIN WILLIAms Trail of the Panda (貓熊團圓路) Here’s another panda movie, this time from isn’t everything China. An orphan (naturally) finds that a Money cute panda cub is his only true friend, and this leads to the pair traipsing alone through the lovely, but dangerous, Sichuan countryside. For the Taiwan release, distributor Buena Vista International, a Disney company, has changed the Chinese title from “panda on the road home” to “panda on the road to reunion” in a pun on the names of the Taipei Zoo pandas. Walt Disney, who was famously anti- communist, would surely have been aghast. Also known as Touch of the Panda — and perhaps Curse of the Panda to independence activists. Kung Fu Chefs (功夫廚神) Legendary Hong Kong writer-director-actor- martial artist Sammo Hung (洪金寶) provides desperately needed backbone to this otherwise derivative action comedy from China. Hung’s disgraced chef takes on a young pup (Vanness Wu, 吳建豪) as an apprentice and the pair battle thugs and rival chefs before a cooking competition brings the episode to a close. But for one extended Hung may acquit himself in this retread, but fans would family it comes pretty really be better off watching an old copy of Pedicab Driver. close. Closer, even, than the ties that bind The Accidental Husband Agony aunt of the New York airwaves Uma BY HO YI Thurman is married — not STAFF REPORTER so happily — to publisher Colin Firth.
    [Show full text]
  • Transom Review: Parachute Radio in Singapore
    the transom review June, 2002 Vol. 2/Issue 5 Parachute Radio “My Singapore Sling” By Christopher Lydon Copyright 2002 Atlantic Public Media Transom Review – Vol.2/ Issue 5 Singapore is the meeting place of many races. The Malays, though natives of the soil, dwell uneasily in towns, and are few; and it is the Chinese, supple, alert and industrious, who throng the streets; the dark-skinned Tamils walk on their silent, naked feet, as though they were but brief sojourners in a strange land, but the Bengalis, sleek and prosperous, are easy in their surroundings, and self-assured; the sly and obsequious Japanese seem busy with pressing and secret affairs; and the English in their topees and white ducks, speeding past in motor-cars or at leisure in their rickshaws, wear a nonchalant and careless air. The rulers of these teeming peoples take their authority with a smiling unconcern. Singapore in the 1920s, observed in W. Somerset Maugham’s story “P. & O.” Singapore stop yelling and calling me names. How dare you call me a chauvinist, an opposition party, a liar, a traitor, a mendicant professor, a Marxist homosexual communist pornography banned literature chewing gum liberty smuggler? How can you say I do not believe in the Free Press autopsies flogging mudslinging bankruptcy which are the five pillars of Justice? And how can you call yourself a country, you terrible hallucination of highways and cranes and condominiums ten minutes’ drive from the MRT? From “Singapore You Are Not My Country,” by the Malay-Singaporean medical student and acclaimed poet Alfian Sa’at A talk show in Singapore is a bit of a contradiction in terms—a clash of cultures, as I was accurately forewarned.
    [Show full text]
  • 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.
    [Show full text]
  • The Films of Jack Neo 145 IMAGINING the CHINESE COMMUNITY THROUGH the FILMS of JACK NEO in 2005, the Ministry of Information, Co
    the films of jack neo 145 CHAPTER FIVE IMAGINING THE CHINESE COMMUNITY THROUGH THE FILMS OF JACK NEO In 2005, the Ministry of Information, Communications and the Arts named filmmaker Jack Neo (b. 1960) one of five recipients of the Cultural Medallion, an annual award that since 1979 has rec- ognized individuals who have ‘attained artistic excellence’ in the fields of literary arts, performing arts, visual arts, and film. The decision to honor Neo—as well as pop musician Dick Lee (who had been a judge on the Singapore Idol competition, discussed in Chapter 3)—with such a prestigious award sparked a heated debate in the media and arts community as to whether pop culture should be considered an appropriate field for such an award and whether the two entertainers really deserved it. Straits Times film correspondent Ong Sor Fern regards Neo as the only director with a “grasp of the psyche of the average Sin- gaporean and empathy for the man in the street.” But she argues that Neo was a “populist”—rather than an “artistic”—choice for the award. While he is a competent filmmaker and has proven himself commercially, there is still much room for improvement where technical and aesthetic abilities are concerned, and his films have not had enough time to prove themselves as enduring works of art (Ong 2005c). Neo, for example, has not been able to de- velop his cinematic technique beyond the ‘television skit’ format that he excels in. Too many scenes in his films are overly melodra- matic. And every one of his films concludes, often abruptly, with a predictably easy and unfeasibly happy ending (Ong 2006d).
    [Show full text]
  • Media Release Mm2 Asia Invites
    mm2 Asia Ltd. Co. Reg. No.: 201424372N 1002 Jalan Bukit Merah #07-11 Singapore 159456 www.mm2asia.com MEDIA RELEASE MM2 ASIA INVITES SHAREHOLDERS TO CELEBRATE SG50 WITH SPECIAL SCREENING OF “7 LETTERS” SINGAPORE, 4 August 2015 – mm2 Asia Ltd. (“mm2 Asia” and together with its subsidiaries, the “Group”), is pleased to invite its mm2 Red Carpet Club members to a special screening of ‘7 Letters’, a unique film to commemorate Singapore’s Golden Jubilee (“SG50”) this year. The Group is proud to be the exclusive worldwide distributor for ‘7 Letters’, an anthology of seven short films directed by Singapore’s seven most illustrious directors – Eric Khoo, Boo Junfeng, Jack Neo, Kelvin Tong, K Rajagopal, Tan Pin Pin, and Royston Tan. The seven directors gathered their creative storytelling and filmmaking talents to present an emotive anthology showcasing the lives and stories of Singaporeans. 1 | P a g e The seven short films are genuine and venerating ‘love letters’ to Singapore, capturing each director’s personal and poignant connection with the place they call home. The seven stories tell of Singapore’s heartland and its people through spellbinding tales of lost love, identity, inter- generational familial bonds, unlikely neighbours, and traditional folklore. ‘7 Letters’ is fully supported by the Singapore Film Commission (“SFC”). “As part of the Red Carpet Club’s activities, we are pleased to invite our shareholders to see ‘7 Letters’, one of this year’s most significant and meaningful films,” said Mr Melvin Ang (洪伟才), CEO of mm2 Asia. “We support local filmmaking, especially films with a special connection to Singaporeans.” Since launching the mm2 Red Carpet Club this year, mm2 Asia organised a series of screenings for its members, including ‘Ah Boys to Men 3: Frogmen’, a co-production by the Group that became the highest grossing opening weekend Asian film in Singapore of all time.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Download Download
    Singapore 98 By Toh, Hai Leong Fall 1998 Issue of KINEMA th April-2nd May) started just before the closing of the more established 22nd Hong Kong International Film Festival on18th April. Big is the word for this year’s festival and the 300 films shown is nearly twice the size of Hong Kong’s output of 160 films. Of course, more does not necessarily mean better. However, the Singapore festival this year did have an overwhelming number of entertaining features, avant garde feminist video works (Women About Women), a flood of South East Asian shorts and experimental films, seminar workshops with the proponents ofthe emerging Asian-American cinema, led by Chris Chan Lee (Yellow), Renee Tajima-Pena (My America ... Or Honk If You Love Buddha), lara Lee (Modulations), Jon Moritsugu (Fame Whore). There was a tribute to Cannes’ 50th Anniversary with a slew of l 5 French Golden Palm winners and a Wim Wenders’ retrospective comprising l5 films. Homage was also paid to Thailand’s Cherd Songsri with special focus on his country’s cinema. This time the Festival Fringe held a screening of 33 shorts, mostly documentary. Not forgotten were the American independent films and Canadian films, one of which was Clement Vigo’s memorable The Planet of Junior Brown as well as the usual array of notable World and Asian films. While the prestigious Hong Kong festival seems to have waned somewhat in quantity and quality, its Sin- gapore counterpart has continued on an aggressively eclectic path which has been rewarded with good attendances for the major Asian and international films.
    [Show full text]