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Docs By The Sea 2020 | 01 Table of Contents 02 Table of Contents 24 Docs By The Sea 2020 Storytelling Lab Participants 03 Introduction to Docs By The Sea 2020 102 Docs By The Sea 2020 Editing Lab Participants 04 Forewords 144 Docs By The Sea fresh wave introduction 06 Docs By The Sea Prizes 178 Committee 07 General Schedule 179 About the Organizers 08 Public Webinar 180 partners logo 20 Story Development and Editing Lab Mentors 182 Index 02 | Docs By The Sea 2020 Introduction to Docs By The Sea 2020 Docs By The Sea is the only international forum that focuses on creating a supportive ecosystem for documentary ilms in Southeast Asia. It is hosted by the Indonesian Ministry of Tourism and Creative Economy in partnership with In-Docs, a non-proit organization committed to foster an open society through documentary ilms. This year, Docs By The Sea provides an eight-day mentoring in storytelling and editing, as well as a three-day pitching forum and opportunities to meet one-on-one with funders, buyers, festivals, distributors and many other potential partners. The Storytelling Lab and Editing Lab runs from August 13th – 24th, 2020, while the pitching sessions take place from August 26th – 28th, 2020. Twenty nine projects from eight countries have been selected to participate in Docs By The Sea’s labs and pitching sessions. Docs By The Sea 2020 also presents a brand new Fresh Wave section, where curated freshly completed documentaries from Southeast Asia meet one-on-one with industry guests who are looking for most current ilms from the region. In order to accommodate diferent time zones and more meetings needed, Docs By The Sea extends the one-on-one meetings until September 1st, 2020. Despite the limitation of online sessions and the non-physical presence, Docs By The Sea is still committed to build cross-cultural understanding and collaborations that elevate genuine and creative storytelling from Southeast Asia. Docs By The Sea 2020 | 03 Forewords Docs By The Sea was initiated together by In-Docs and the Indonesian Creative Economy Agency (BEKRAF) in 2017. Since its Inaugural edition, Docs By The Sea has become a unique and enriching space for both Southeast Asian documentary talents and the international industry that is reaching out to our corner of the world. It is a great honor for the Ministry of Tourism and Creative Economy to preserve Docs By The Sea’s legacy and enhance its mission. As the Minister of Tourism and Creative Economy, I believe strongly in the power of storytelling and the potentials of a great story. Inluential nations around the world invest heavily in their ilm industry to win the hearts and minds of the global audience. It is also my mission to build a strong Indonesian ilm industry with a global outlook. I see Docs By The Sea as an important way for Indonesian ilmmakers to engage with their peers in Southeast Asia, to exchange knowledge and experiences with industry Wishnutama Kusubandio experts, and to gain an international stage together with MINISTER best talents from the region. Ministry of Tourism and Creative Economy It is unfortunate that I am unable to welcome you all in Bali this year. Due to COVID-19, Docs By The Sea is delivered to the virtual world. However, I do wish that you all have productive labs, meetings, and pitching sessions at Docs By The Sea. Best of luck, and I’m looking forward to see your projects go beyond any boundaries. Sincerely Yours, Wishnutama Kusubandio Minister of Tourism and Creative Economy Republic of Indonesia 04 | Docs By The Sea 2020 Forewords COVID-19 has shaken the world. Our world demands a new way of seeing and a new way of doing things. It is precisely now; when we cannot be together, when we cannot see, touch, taste, or smell something in person; we need to tell our stories. It is precisely now when documentary ilms are needed to keep the world connected. It is a great pleasure to welcome the twenty nine selected projects from eight countries in Southeast Asia to participate in the special virtual edition of Docs By The Sea 2020. In-Docs is extremely proud to bring Docs By The Sea 2020 into reality to support the works of brave and resilient ilmmakers from Southeast Asia who are committed to creative storytelling. We are very grateful to the league of world-class mentors that bring in in-depth consultancy and decades of experience into Docs By The Sea’s storytelling lab and editing lab. This year, we are also excited to welcome the biggest number of industry guests in Docs By The Sea’s short history. They represent Amelia Hapsari funders, broadcasters, curators, ilm festivals, sales agents, PROGRAM DIRECTOR distributors, digital platforms, cultural organizations and In-Docs institutions that are committed in empowering non-iction ilmmaking. Docs By The Sea is designed to be a safe space for everyone to exchange equally, to help each other generously, and to be open for new possibilities. I hope you will ind new discoveries and build strong relationships at Docs By The Sea. Let me know how we can possibly help to improve your experience here. We are always looking forward to hearing from you. Sincerely Yours, Amelia Hapsari Program Director In-Docs Docs By The Sea 2020 | 05 Docs By The Sea Prizes Docs By The Sea Prizes Dok Leipzig Award Selection of one project for online participation at DOK Co-pro Market 2020 IDFA Award Selection for the most promising project to participate in the online IDFAcademy or participation as an observer in the online IDFA Forum, with the support from the festival to arrange additional meetings. 06 | Docs By The Sea 2020 General Schedule All dates and time below are in UTC+7 *Open for registered public observers Storytelling & Editing Lab Pitching Forum Time Varies Wednesday, 26 August 2020 19:30—23:00 Pitching Session #1* Thursday, 27 August 2020 Public Webinars* 19:30—23:00 Pitching Session #2 Friday, 14 August 2020 13:00—14:30 Friday, 28 August 2020 Co-Production with South Korea 19:30—23:00 Pitching Session #3 Friday, 14 August 2020 20:00—21:30 Documentary Storytelling in the New World Tuesday, 18 August 2020 One-on-One Meetings 13:00—14:30 Documentary Collaborations in Taiwan Takes place virtually according to both parties' time slots availability from 26 Aug—1 Sep Wednesday, 19 August 2020 13:00—14:00 Co-Production with Japan Wednesday, 19 August 2020 20:00—21:30 Co-Production with France Docs By The Sea 2020 | 07 Public Webinar 08 | Docs By The Sea 2020 Docs By The Sea 2020 | 09 Public Webinar Co-Production with South Korea Friday, 14 August 2020 | 13:00—14:30 (UTC+7, Jakarta time) In the past decade, South Korea has risen globally as prime producers and market for ilms and television. With the Oscar victories of Parasite, South Korea has placed itself at the center of the international market. This success can be attributed to comprehensive cultural strategies that are implemented by the whole nation. In the documentary side, South Korea has grown some producers who have taken a global stage with ilms like Planet of Snail, My Love, Don’t Cross That River, and recently In the Absence who was nominated for the Oscar for Short Documentary category. It is very encouraging that notable documentary producers from South Korea have begun collaborating with Asian ilmmakers as a co-producer. What does co-production with South Korea look like? What kinds of funding can South Korean producers unlock when they are co-producing Asian documentaries? What are recent productions that can open imaginations and more ways of collaborations? Join this webinar to listen and discuss with Heejung Oh, a South Korean producer who recently co- produced a documentary ilm with an Indian ilmmaker, and Ellie Jo, the Executive Producer of DMZ Industry, an international documentary forum and ilm festival. English – Bahasa Indonesia simultaneous translation and Indonesian sign language interpreter is available. Moderator AMELIA HAPSARI IN-DOCS 10 | Docs By The Sea 2020 speakers Speaker HEEJUNG OH FOUNDER/PRODUCER Seesaw Pictures HEEJUNG OH was a sales agent specialized in the Asian market and started producing feature documentaries in 2016. She has been working with strong Asian talents and has expertise in theatrical distribution as well as international co-production. Her irst feature documentary For Vagina’s Sake (2018) has won many awards in Korea, and other titles such as The Plan (2017), Intention (2018) had big box oice successes. The latest title, Pearl of Speaker the Desert (2019) is selected for the feature-length ELLIE JO competition at IDFA. She also produced video art EXECUTIVE PRODUCER installations Porosity Valley 2: Tricksters’ Plot (2019) DMZ Industry at National Museum of Modern and Contemporary Art which was also selected for Forum Expanded at Berlinale 2020. She is dedicated to challenging the ELLIE JO is the Executive Producer in charge of DMZ form of cinema and exploring various platforms to Industry at the DMZ International Documentary meet international audiences. Film Festival (a.k.a DMZ Docs). She has pursued a career in the production/distribution of ilms and documentaries, ilm events, and publication, for more than a decade, with a focus on independent and art house ilms. DMZ Docs showcases ilms dealing with 'peace, co-existence and reconciliation' accompanied by events like seminars, conferences and the pitch program for DMZ Docs. Docs By The Sea 2020 | 11 Public Webinar Documentary Storytelling in the New World Friday, 14 August 2020 | 20:00—21:30 (UTC+7, Jakarta time) COVID-19 requires us to work diferently and ind diferent pathways for our stories to be made and to reach the audience.
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  • Title 映像は国民的悲劇をどう語り継ぐのか --インドネシア映 画における9月30日事件 Author(S) 西

    Title 映像は国民的悲劇をどう語り継ぐのか --インドネシア映 画における9月30日事件 Author(S) 西

    映像は国民的悲劇をどう語り継ぐのか --インドネシア映 Title 画における9月30日事件 Author(s) 西, 芳実 CIRAS discussion paper No.91 : 伝承と国民の物語 --混成ア Citation ジア映画研究2019 (2020), 91: 34-44 Issue Date 2020-03 URL https://doi.org/10.14989/CIRASDP_91_34 Right © Center for Southeast Asian Studies, Kyoto University Type Research Paper Textversion publisher Kyoto University 映 像 は 国 民 的 悲 劇 をどう語り継ぐの か インドネシア映画における9月30日事件 西 芳実 ３） はじめに ヌル）が制作された 。『裏切り』は270分を超える大 作で、インドネシア共産党（PKI ）がいかにして人々 1945年の独立革命、1965年の９月30日事件、1998 を欺いて残虐なクーデター計画を実施し、これをスハ 年の民主化という国民的な政変を３度経験したイン ルトがいかに鎮圧したかが描かれる４）。『ジャカルタ ドネシアでは、映画は誰の物語を描くのかが問われ続 1966』はスカルノからスハルトへの権力移譲を示す けてきた。政変とは、統治者の交代にとどまらず、統 ３月11日命令書の正当性を示す物語となっている。 治原理や価値体系の転換を伴う。このため、政変前に 『裏切り』の脚本にはインドネシア国軍歴史センター 正しいとされた価値観が政変後に否定される。また、 長のヌグロホ・ノトスサント５）が参加し、ヌグロホが 政変ではしばしばその前後で同一社会の成員による 1968年に発表した国軍公認の正史６）を底本としたド 内戦状態が生まれる。このため、政変後の社会には殺 キュドラマとして制作された。公開された1984年に約 した側と殺された側の遺族や関係者がともに存在す 70万人の観客を動員したほか、全国の学校で繰り返し る状況が生まれる。これらの出来事は明らかに国民的 上映会が行われた。毎年９月30日に国営テレビ放送 な出来事であるが、それを記述しようとしたとたん 局のTVRIで放映され、民間テレビ局もこれに続いた。 に、誰の立場で語るのかが問われ、国民の物語として 2000年に行われたある調査によれば、1965年の事件 語ることの困難に直面する。 についてどこで学んだかという質問に回答者の90％が スカルノ大統領からスハルト大統領への政権移譲 映画と回答し、そのうち97％が『裏切り』を見たと回 をもたらした1965年の９月30日事件とその後の政治 答した７）。映画は長らく政権のプロパガンダに利用さ 過程は、多くの国民を巻き込む虐殺と大量逮捕を伴っ れ、政権が認める正史以外の表現が制限されてきた８）。 た。スハルト政権はこの一連のできごとを記録し記述 ３） これ以前は、９月30日事件に触れたインドネシア映画は陸軍イ する上で映画を活用した。 スラム精神センターの資金で制作された『Ｘ作戦』（Operasi X、 1968年、ミスバ・ユサ・ビラン）のみだった［Sen 1988］。『Ｘ作 スハルト政権下においてインドネシア映画はイン 戦』ではPKIの地下組織に潜入した陸軍中尉が恋人を誘拐され ドネシア全域に配給されるインドネシア語による映 る妨害にあいつつも、地下組織のせん滅と恋人の解放に成功す １） る。９月30日事件に関する映画の制作が1980年代に始められ 像メディア であり、スハルト大統領の出自の正統 た背景として、センは、9月30日事件で収容されていた政治犯