(LPFF) Has Grown Into Aw

Total Page:16

File Type:pdf, Size:1020Kb

(LPFF) Has Grown Into Aw with Laos. At last year’s festival Cambodia made a strong impression—the absolutely riveting documentary Cambodian Son won the ‘Audience Choice Award’—and this year there are three films to look forward to from that nation’s burgeoning film industry. Another growing film industry can be found in The Philippines, which has six titles in competition (the most films in the 2017 line-up, after Thailand). In addition to the feature film screenings, LPFF will also have four programmes of short films, four public discussion forums, a Talent Lab for Southeast Asian filmmakers led by the Tribeca Film Institute (TFI), and a documentary production workshop. If you’ve never attended the LPFF it is a truly one-of-a-kind event. The fact that all screenings and related activities are free and open to the From its humble beginnings as a celebration of As it has the most active film industry of all the public makes it a very unique and wonderfully Southeast Asian cinema, the Luang Prabang Film Southeast Asian nations, it’s not surprising that inclusive event. In addition, the presence of the Festival (LPFF) has grown into a well-known and Thailand has the most films in this year’s line-up. directors, producers, and/or actors at almost every important forum for regional film professionals to Among the one dozen films from these shores are post-film Q&A at the official LPFF day screening network internationally and get their films seen by such titles as: Bad Genius; By the Time it Gets venue—located in a traditional raised wooden a larger audience. This year marks the 8th edition Dark; Cemetery of Splendour; The Couple; Heart house on the grounds of the Sofitel Luang of this annual event, which runs from December Attack; In My Hometown; The Island Funeral; Prabang hotel—means you really get to know the 8th to the 13th. Legend of the Broken Sword; Railway Sleepers; back story of each film. Finally, add the that the Snap; and Wandering. beauty and laid back ambience of Luang Prabang Founded in 2009 by American-born Gabriel itself (a UNESCO World Heritage Site), and you’ve Kuperman, the LPFF is a not-for-profit project that Thailand is also the focus of this year’s ‘Spotlight’ got the best holiday destination a cinephile could fosters cross-cultural dialogue within the region programme, with a full day of programming ask for. and supports the burgeoning film industry in both devoted to screenings and discussion of Thai Laos and the greater ASEAN region. By identifying feature films. Kong Rithdee—LPFF’s Motion For more details on specific screenings, as well as great curators, with inside understanding of their Picture Ambassador for Thailand, and a film critic information on how to plan your trip, visit the community’s film scene, LPFF is able to produce a for the Bangkok Post—will act as the programme’s official website at: www.lpfilmfest.org. unique programme that ensures the inclusion of host, leading post-screening Q&As and a public the strongest voices from across Southeast Asia. discussion. Among the movies screening in this Official selections are made by experts and critics special programme is the 1954 film Santi-Vina, from across Southeast Asia—referred to as which was recently restored for a screening at ‘Motion Picture Ambassadors’—and the final ‘Cannes Classics’ in 2016. roster of movies to be screened represents a carefully chosen collection of what they believe to Meanwhile, the other nine ASEAN nations are all be the finest contemporary films from their present in this year’s festival, even Brunei which is respective countries. represented by the film Rina 2, a co-production .
Recommended publications
  • Alternative Digital Movies As Malaysian National Cinema A
    Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Hsin-ning Chang April 2017 © 2017 Hsin-ning Chang. All Rights Reserved. 2 This dissertation titled Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema by HSIN-NING CHANG has been approved for Interdisciplinary Arts and the College of Fine Arts by Erin Schlumpf Visiting Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT CHANG, HSIN-NING, Ph.D., April 2017, Interdisciplinary Arts Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema Director of dissertation: Erin Schlumpf This dissertation argues that the alternative digital movies that emerged in the early 21st century Malaysia have become a part of the Malaysian national cinema. This group of movies includes independent feature-length films, documentaries, short and experimental films and videos. They closely engage with the unique conditions of Malaysia’s economic development, ethnic relationships, and cultural practices, which together comprise significant understandings of the nationhood of Malaysia. The analyses and discussions of the content and practices of these films allow us not only to recognize the economic, social, and historical circumstances of Malaysia, but we also find how these movies reread and rework the existed imagination of the nation, and then actively contribute in configuring the collective entity of Malaysia. 4 DEDICATION To parents, family, friends, and cats in my life 5 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Prof.
    [Show full text]
  • 0 0 0 0 Acasa Program Final For
    PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision.
    [Show full text]
  • Wikanda Promkhuntong
    Wikanda Promkhuntong, PhD Lecturer in Film and Cultural Studies Research Institute for Languages and Cultures of Asia Mahidol University, Thailand E-mail: [email protected] HIGHER EDUCATION 2012-2016 PhD in Film Studies - Aberystwyth University, Wales UK 2010-11 MA (Distinction): Film Studies - Aberystwyth University, Wales UK 2004-08 BA (Hons): English and Communication Arts - Chulalongkorn University, Thailand RESEARCH INTERESTS My research engages with the subject of border-crossing and East Asian cinema. These include works on East Asian auteurs in the global transmedia context in relation to film festival, distribution and film fans, and another area of work on film fan tourism with the focus on Southeast Asian film locations, pilgrimage practices and socio-cultural implications (www.filmfantourism.org). I am also interested in the subjects of East Asian film stars and the connections between cinema and different art forms and media cultures. With Research Institute for Languages and Cultures of Asia, I co-founded the Aesthetics and Sociology of Culture Research cluster which seeks out interdisciplinary research collaborations within and outside Thailand. PUBLICATIONS Book Publication in development with Amsterdam University Press, tentative title of the book: Authorship in Contemporary Transmedia Cultures: Global Success of East Asian Auteurs. Peer-reviewed journal article and book chapters Under revision ‘Fan pilgrimage and play: The mobility of selves and cultural spaces in relation to Thai cinema’, Journal of Culture, Theory and Critique [Taylor and Francis, Scopus Index] 2020 Film Authorship in Digital Paratexts and Aesthetic Alliances from Below. In Thanom Chapakdee et al. (eds.), Exploring Aesthetic Dimensions in the Humanities. Bangkok: Siam, pp.
    [Show full text]
  • Network Films: a Global Genre?
    Network Films: a Global Genre? Vivien Claire Silvey December 2012 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University. ii This thesis is solely my original work, except where due reference is given. iii Acknowledgements I am extremely grateful for all the time and effort my dear supervisor Cathie Summerhayes has invested throughout this project. Her constant support, encouragement, advice and wisdom have been absolutely indispensable. To that master of words, puns and keeping his hat on during the toughest times of semester, Roger Hillman, I extend profound gratitude. Roger‟s generosity with opportunities for co-publishing, lecturing and tutoring, and enthusiasm for all things Turkish German, musical and filmic has been invaluable. For all our conversations and film-loans, I warmly say to Gino Moliterno grazie mille! I am indebted to Gaik Cheng Khoo, Russell Smith and Fiona Jenkins, who have provided valuable information, lecturing and tutoring roles. I am also grateful for the APA scholarship and for all the helpful administration staff in the School of Cultural Inquiry. At the heart of this thesis lies the influence of my mother Elizabeth, who has taken me to see scores of “foreign” and “art” films over the years, and my father Jerry, with whom I have watched countless Hollywood movies. Thank you for instilling in me a fascination for all things “world cinema”, for your help, and for providing a caring home. To my gorgeous Dave, thank you for all your love, motivation, cooking and advice. I am enormously honoured to have you by my side.
    [Show full text]
  • SGIFF Makes Waves in SEA 5G for Content Market
    MCI (P) 047/06/2017 PPS 1812/01/2013 (025534) ISSN 0219-6166 www.onscreenasia.com Vol. 26 | Issue 03 | june-july 2019 SGIFF makes waves in SEA 5G for content market editor’snote PUBLISHING K.DASS EDITORIAL-IN-CHIEF/PUBLISHER Making waves in broadcasting [email protected] (65) 6828 9333 Major Satellite operators were in Singapore attending CommunicAsia recently. Asia Satellite was EDITORIAL selected by WarnerMedia as a strategic partner for YI AN ANG regional distribution of its flagship high-definition EDITORIAL ASSISTANT services via its AsiaSat 7 craft at 105.5°E, said to [email protected] be the world’s most watched orbital slot. (65) 6828 9333 Since 1999, AsiaSat has been distributing a total ANG LER SING of five WarnerMedia SD channels on AsiaSat 7 and previously on AsiaSat 3S. Since transmission, EDITORIAL ASSISTANT these channels have gained access to hundreds of [email protected] rebroadcast networks and hotel networks across (65) 6828 9333 the Asia-Pacific region. From September 2019, AsiaSat 7 will carry a total of eight HD and three ALISON YEO K. Dass, Editor-In-Chief SD channels of content from news, entertainment, EDITORIAL ASSISTANT to children, films and drama. Channels include CNN [email protected] International, Cartoon Network, Boomerang and Warner TV in Asia-Pac, as well as HBO HD in South Asia. (65) 6828 9333 From Malaysia, Measat will distribute the Travelxp 4K HDR channel across DESIGN/PRODUCTION the region, following an agreement with Celebrities Management Private Ltd SAMANTHA THAM (CMPL). The international travel channel will join Measat’s ultra HD (UHD) GRAPHIC DESIGNER video clients in broadcasting from 91.5 degrees East.
    [Show full text]
  • Gender and the Nation in Popular Cambodian Heritage Cinema
    Gender and the Nation in Popular Cambodian Heritage Cinema A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES MAY 2014 by: Jessica Austin Thesis Committee: Miriam Sharma, Chairperson Barbara Watson-Andaya Jonathan Padwe Jonna Eagle Keywords: Cambodia, Cinema, Gender, Nation, Popular Culture, Sihanouk ii Dedicated to: My families, both near and far. iii Acknowledgements In researching this project for two years, I have been incredibly fortunate to receive the help, guidance, and friendship of a vast network of people living and working in Cambodia, Hawai'i, and the United States. None of this would have been possible without the support of the Center for Southeast Asian Studies at the University of Hawai'i-Manoa, and generous grants from the Moscotti Foundation. I am also indebted to Severine Wemaerae, Gilles Duval, Rithy Panh, and Davy Chou for allowing me to naively interrupt many proceedings of the Memory! International Film Heritage Festival 1st Edition so that I could dive head first into the world of film archives, preservation, and filmmaking in Cambodia. The employees of the Bophana Audio-Visual Archive in Phnom Penh were extremely patient with me while I watched films and asked them incessant questions about film heritage, for which I am so very grateful. The youth organizations I worked with, Kon Khmer Koun Khmer and Preah Soriya student group at RUPP, were extremely generous with their time, and I extend my gratitude to all of the members of those groups.
    [Show full text]
  • Historical Poetics, Malaysian Cinema, and the Japanese Occupation
    Historical Poetics, Malaysian Cinema, and the Japanese Occupa- tion By Timothy White Fall 1996 Issue of KINEMA LITTLE HAS BEEN WRITTEN, especially in English, about the history of Malaysian cinema. Rather than a fully-developed study of Malaysian film, this article is really more of an introduction to the project Iam undertaking, which is a study of Malaysian cinema from the ”Golden Age” (the 1950s and 1960s), including especially the films of P. Ramlee, but also such genres as the crime film, fantasy film,and pontianak (vampire) film, to today’s Malaysian cinema, with its own genres, outstanding filmmakers (Aziz Osman andU-Wei Haji Shaari, for example), and performers (most obviously, Sofia Jane). And this article is as much an introduction to my methodology -- historical poetics -- as it is to my subject. Therefore, this article is divided into three sections: the first deals with the need for a new way of looking at Third World cinema; the second with a general discussion of what historical poetics can tell us about Malaysian cinema; and the third with a more specific area of study within the history of Malaysian cinema, the Japanese Occupation and its influence. LOOKING AT THIRD WORLD CINEMA Since arriving in Singapore in 1992, I have become interested in the films of Malaysia, and also in the attitude toward Malaysian cinema I have found among many of my Malay students at the National University of Singapore. On one hand, they dismiss Malaysian films as technologically inferior to those of Hollywood, Hong Kong, and China, and aesthetically inferior to those of Western Europe; when they admit to watching Malaysian films, it is often with a great deal of embarrassment.
    [Show full text]
  • The Little Cinema of Malaysia
    The Little Cinema of Malaysia By Hassan Abd Muthalib Spring 2007 Issue of KINEMA THE LITTLE CINEMA OF MALAYSIA: OUT WITH THE OLD, IN WITH THE NEW MALAYSIAN mainstream cinema is notable (!) for its emphasis on pure entertainment and nothing but. The films were also notable (until recently), for not reflecting the ethnic and cultural diversity ofMalaysia in spite of the official promotion of the country internationally as Malaysia, Truly Asia. Dishing outcliched, stereotypical and antiquated narratives and characters, many of these films somehow attain box-office success, proof that they are popular with a certain segment of the cinema-going public. None of these films, however, have been invited to participate in international film festivals. The few alternative films that have surfaced from time to time (and have had international exposure), have never had a mass audience, and them have ever made back their initial investment. This gloomy scenario, however, has not fazed the group dubbed The Little Cinema of Malaysia. Working in the digital video (DV) format, its filmmakers have made their presence felt with their iconoclastic filmmak- ing. Ever since the wave first began in 1999, there has been no stopping its forward surge. International recognition has been quick in coming and their works are now regularly in exhibition or in competition - and winning many top prizes - at prestigious festivals around the world. But more importantly, they have broken with the conventions and traditions prevalent in the mainstream since 1933 when the first local film was made. The Little Cinema is notable for its diversity not only in the makeup of its members (who come from all races), but also in the diversity of ideas, issues and narratives they bring to the screen.
    [Show full text]
  • Performing Region in Southeast Asian Film Industries Jasmine Nadua
    Jasmine Nadua Trice Performing Region in Southeast Asian Film Industries What does it mean to invent a regional cinema? Film and media scholars have long troubled the conventional cartographies used to map cinemas by nation- states, turning to models based on global flows and deterritorializa- tion or local sites of production and reception.1 How does region become a spatial logic for film production, distribution, and reception? Inspired by work in critical border studies, I would like to propose a shift from the concept of region as a fixed, geographic area to the idea of region as a his- torically contingent practice, a reterritorializing performance that emerges amid a confluence of specific cultural and economic circumstances. Such conditions lead to organizing practices and institutional networks that work above and below the nation- state, that seek new scales for collaboration and exchange. I find performance theory especially valuable for consider- ing regional film organizing because it emphasizes the projected, fictional dimensions of cultural forms. As Diana Taylor argues, “Performance moves between the as if and the is, between pretend and new constructions of the ‘real’”; it “can be understood as process— as enactment, exertion, interven- 1 Mariam B. Lam, Isabelle Thuy Pelaud, Lan Duong, and Kathy L. Nguyen, introduction to Troubling Borders: An Anthology of Art and Literature by Southeast Asian Women in the Diaspora (Seattle: University of Washington Press, 2014), 3– 20. See also Arjun Appadurai’s work on “process” geographies as alternatives to “traits” geographies: Arjun Appadurai, “Grassroots Globalization and the Research Imagination,” in Glo- balization, ed. Arjun Appadurai (Durham, NC: Duke University Press, 2001), 1– 21.
    [Show full text]
  • Emerging Voices from Southeast Asia
    The Newsletter | No.65 | Autumn 2013 52 | The Network Announcements continued Emerging voices from Southeast Asia Fridus Steijlen IDFA 2013 IntERnatIOnal DOCUMEntaRY FILM FESTIVal AMSTERdaM 20 NOVEMBER – 1 DECEMBER 2013 LatELY MOVIES FROM SOUTHEAST ASIA have been Making history getting more success in attracting international attention. For scholars working on Southeast Asia the work of For example, Uncle Boonmee Who Can Recall His Past Lives, documentary makers like Rithy Panh is of significant from Thai director Apichatpong Weerasethakul, won interest. Much work has been done on how historiography the ‘Golden Palm’ in Cannes in 2010, and several films by has been recently impacted by specific historical events Philippine director Brillante Mendoza were selected and that have redrawn the political map in some of the awarded at leading film festivals in Cannes and Berlin. Southeast Asian countries, and have required a coming Following the successful developments of Southeast Asian to terms with a nationalist history that does not fit all. cinema, IDFA (International Documentary Film Festival Considerably less work has been done so far on how visual Amsterdam) will be exploring the state-of-the-art of images of history, like documentaries and new media Southeast Asian documentaries in her upcoming festival, technologies, change the interpretation of particular events by organizing a thematic program: ‘Emerging Voices and in its aftermath the writing of history by new interest from Southeast Asia’ . groups and sections of society other
    [Show full text]
  • Bibliography
    Bibliography This is a compre hens ive bibli o graphy of the sources used for the articles in this volume. Wherever authors have used differ ent editions of the same primary source, these are listed in the same entry, separ ated by a semi colon. When differ ent editions have the same title, this title has not been repeated in the entry. Entries which can be considered both a primary and a second ary source appear under both categor ies. Each bibli o graphic entry is followed by the initials of the author who has used it, in square brack ets, as follows: Introduction: Chapter 1: Zulfikar Hirji [ZH – Intr.]; Chapter 2: Dmitry Bondarev [DB]; Chapter 3: Tal Tamari [TT]; Chapter 4: Farouk Topan [FT]; Chapter 5: Gerard C. van de Bruinhorst [GB]; Chapter 6: Ryan Skinner [RS]; Chapter 7: Ruba Kana’an [RK]; Chapter 8: Adeline Masquelier [AM]; Chapter 9: Kjersti Larsen [KL]; Chapter 10: Susan Rasmussen [SR]; Chapter 11: Joseph Hill [JH]; Chapter 12: Andrea Brigaglia [AB]; Chapter 13: Zulfikar Hirji [ZH]. Manuscripts Abd Allāh b. Fūdī [=Abdallah ͂an Fodio]. iyā al- tawīl fī macānī al- tanzīl. MS Arabe 5509, Bibliothèque Nationale de France, Paris. Fols. 1b–337b and 339a–384b [Incomplete copy]. [TT] Borno Qur’an. MS.1YM [‘Yerima Mustafa manu script’ or ‘Geidam manu script’], private collec tion of Yerima Mustafa Mukhtar, the current Waziri of Borno, Maiduguri, Nigeria. Complete, 362 folios. Old Kanembu Islamic Manuscripts, SOAS Digital Collections, SOAS University of London. [DB] ——. MS.2ShK [‘Shetima Kawo manu script’], lost; formerly in the posses sion of the Shetima Kawo family in Maiduguri, Nigeria.
    [Show full text]
  • Regional and Vernacular Cinemas in Cebu1 Paul Douglas Grant
    Screening Place: Regional and Vernacular Cinemas in Cebu1 Paul Douglas Grant Abstract The history of autonomous cultural production in the Philippines has been both blessed and cursed with a series of significant but contentious debates largely stemming from the nation’s historical battles with colonialism and how that experience problematized the concept of an easily definable national identity. Using geographical concepts surrounding place to open up new approaches to understanding local cultural production, this essay turns to Philippine cinema as a propaedeutic for this contested his- tory and traces the emergence and difficulties of vernacular and regional cinemas in Cebu, Philippines. Keywords: Regional cinema, Cebu, cultural geography, place, colonialism Plaridel • Vol. 17 No. 2 • July - December 2020 23 - 41 Plaridel Open Access Policy Statement As a service to authors, contributors, and the community, Plaridel: A Philippine Journal of Communication, Media, and Society provides open access to all its content. To ensure that all articles are accessible to readers and researchers, these are available for viewing and download (except Early View) from the Plaridel journal website, provided that the journal is properly cited as the original source and that the downloaded content is not modified or used for commercial purposes.Plaridel , published by the University of the Philippines College of Mass Communication is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (https://creativecommons.org/
    [Show full text]