scholarly journals Singapore 2004

2004 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Southeast Asian ◽  
New Delhi ◽  
Film Festival ◽  
Film Festivals ◽  
Current Trends ◽  
Asian Cinema

SINGAPORE INTERNATIONAL FILM FESTIVAL 2004 For nearly two decades, the Singapore International Film Festival (SIFF), the showcase of Southeast Asian cinema, has also served as a timely beacon for other key Asian film festivals. Pusan in Korea, Filmex in Tokyo, and Cinefan in New Delhi have benefited from Singapore, simply because SIFF was on the scene first and did all the spadework. Link all four festivals together, and the committed cineaste can easily anticipate Asian entries selected later for Cannes, Venice, Berlin, Montreal, and elsewhere. Its secret? The SIFF is independently operated under a quartet of film professionals (Geoffrey Malone, Philip Cheah, Lesley Ho, and Teo Swee Leng), who concentrate on quality Asian cinema. The Silver Screen Awards, inaugurated in 1991, are judged by a professional jury of peers. The Asian Films section a focuses on current trends, styles, and themes in the respective national cinemas. And Singapore happens...

scholarly journals Singapore International Film Festival 2014

2015 ◽  
Author(s):  
Alfonse Chiu
Keyword(s):  
Golden Age ◽  
Executive Director ◽  
Southeast Asian ◽  
Small Island ◽  
Film Festival ◽  
Asian Cinema ◽  
Better Than

NOTES FROM A SLIGHTLY SMALL ISLAND: SINGAPORE INTERNATIONAL FILM FESTIVAL Following a two-year hiatus that included a complete revamping of its structure and organization, the Singapore International Film Festival returned for its 25th edition (4-14 December 2014) bigger and better than ever, with a re-branding effort that changed the former 'SIFF' into its current 'SGIFF'. A part of the inaugural Singapore Media Festival, SGIFF featured over 147 films from 50 countries spread over ten days and eleven sections, with a team headed by executive director Wahyuni Hadi and director-programmer Zhang Wenjie. It may be safe to say that the revitalized SGIFF heralds a new golden age of Singaporean and Southeast Asian, cinema....

scholarly journals Osian's Cinefan 2009

2010 ◽  
Author(s):  
Gönül Dönmez-Colin
Keyword(s):  
Arab World ◽  
Director General ◽  
Experimental Film ◽  
New Delhi ◽  
Film Festival ◽  
The World ◽  
Ingmar Bergman ◽  
Asian Cinema

OSIAN'S CINEFAN 2009 Celebrating its eleventh birthday in New Delhi, Osian's Cinefan Film Festival (25-30 October 2009) started its second decade with a new direction, well-known independent filmmaker Mani Kaul as the director-general, and an eclectic program that stretched over several continents. Founded in 1999 as a small festival of Asian cinema by Aruna Vasudev, the president of Netpac (Network for Promotion of Asian cinema) and the founder and editor-in-chief of the now defunct Cinemaya Asian Film Quarterly, Cinefan gradually enlarged its scope to include Arab cinema as well and has become one of the largest festivals of contemporary Asian and Arab cinema in the world. This year, the thirteen first, second or third films 'InCompetition' from Asian and Arab world included two films from Turkey: a highly experimental film, Knot by Uigur Asan and There by Hakk Kurtulu and Melik Saraçolu, with overt influences of Ingmar Bergman. The...

scholarly journals Cinefan 2006

2006 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
New Delhi ◽  
Film Festival ◽  
The Past ◽  
Asian Cinema

CINEFAN NEW DELHI FESTIVAL 2006 When I asked an informed critic for an opinion as to which was the most important film festival in India today, he named Osian's Cinefan in a close tie with the Trivandrum International Film Festival - with the caveat, of course, that Cinefan in New Delhi primarily presents Asian cinema, while Trivandrum (aka Triruvananthapuram, to use the official name) in Kerala opens its doors wide to international film fare. As for the long-running International Film Festival in India (IFFI), a government-sponsored affair based in Goa for the past couple of years, I was told that it ranked third at best, although a larger attendance was recorded last year. In other words, Goa, a resort city populated mostly by tourists from home and abroad, has had to work hard to attract a movie-mad Indian public from across the country. Two other festivals were also thrown into...

scholarly journals Sarawak Millennium Film Festival 2002

2002 ◽  
Author(s):  
Brandon Wee
Keyword(s):  
State Government ◽  
New Technologies ◽  
The Philippines ◽  
Southeast Asian ◽  
The State ◽  
Film Festival ◽  
Film Festivals ◽  
Kuala Lumpur ◽  
Primary Mission

The inaugural edition of the SMFF transpired over seasonal monsoon spells in the Malaysian state of Sarawak.An official first for Malaysia, the SMFF is a project by the state government and organised by the Universiti Malaysia Sarawak (UNIMAS) in Kuching. There have been previous attempts by various industry parties (mainly in Kuala Lumpur) to establish the country's introductory film festival, but the continual lack of funding has ensured that this prospect remained a dream, until now. So it is with much anticipation that the SMFF joins the spirited posse of young Southeast Asian film festivals, behind Singapore, Thailand and the Philippines. With a primary mission to trace the dynamics of Southeast Asia's cinemas, the SMFF's other objectives include promoting the region's independent and student films, sharing problems, exploring new technologies in distribution and exhibition, and networking for co-operative efforts, investment and financing.It's also opportune that the birth of the SMFF comes...

Projecting Asian Cinema to the World

2020 ◽  
pp. 114-134
Author(s):  
Sangjoon Lee
Keyword(s):  
San Francisco ◽  
International Level ◽  
Film Festival ◽  
Film Festivals ◽  
South Korean ◽  
The World ◽  
American Society ◽  
The 1960S ◽  
Asian Cinema

This chapter examines Unheeded Cries, South Korea's official submission to the fourth San Francisco International Film Festival (SFIFF) in 1960, which tells the story of postwar orphans in the slums of Seoul. It discusses the Berlinale, San Francisco, and Asian Film festivals that consistently invited South Korean films to their competition sections during the first half of the 1960s. It also mentions the occupied force's cultural representative, Oscar Martay, who promoted Berlin as the Western cultural showcase of the East. The chapter reviews how SFIFF was organized and managed by Irving “Bud” Levin, whose ultimate aim was to raise his profile to become an international-level figure. It elaborates the Asia Foundation's (TAF) attempt to use SFIFF to showcase non-communist and ideologically correct Asian films for mainstream American society.

scholarly journals Cinefan 2003

2003 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
New Delhi ◽  
Film Festivals ◽  
Asian Countries ◽  
Asian Cinema

CINEMAYA FESTIVAL OF ASIAN CINEMA – CINEFAN 2003 Fifteen years ago, back in the autumn of 1988, a very informative and highly readable film magazine called Cinemaya hit the stands at a few key international film festivals. Published in New Delhi by Aruna Vasudev, an Indian critic and film historian who had been educated in Paris, it beat the drum for Asian cinema and filmmakers so loudly and effectively that soon all the major film festivals took notice. And when she engaged a cohort of able international writers to submit articles, interviews, and festival reports to Cinemaya, the next step was a logical one: the founding in 1990 of the Network for the Promotion of Asian Cinema (NETPAC) at a UNESCO conference held in New Delhi. With a membership that includes 16 Asian countries, plus 8 associate members, the Network was strong enough to assemble its own NETPAC juries...

scholarly journals Negotiating ‘Asianness’ at the Tokyo International Film Festival Local, Regional and International Dynamics Through Programming Practices and Film Markets

2021 ◽  
Author(s):  
Eugenio De Angelis
Keyword(s):  
Film Industry ◽  
Film Festival ◽  
Film Festivals ◽  
History Of ◽  
Specific Interests ◽  
Asian Cinema ◽  
Programming Practices ◽  
International Status ◽  
Over Time

In this paper I will trace a brief history of major Asian film festivals to understand how the notion of ‘Asianness’ evolved over time and how it is expressed nowadays through programming practices and film markets. Then I will focus on the case study of the Tokyo International Film Festival (TIFF) as a problematic site where cultural and economic dynamics converge. As an A-category festival, TIFF has to balance its international status with regional relevance, negotiating ‘Asianness’ in a complex relationship involving the local film industry, since questions on ‘Asian cinema’ are deeply linked to the national. Finally, I will draw some conclusions, discussing how TIFF relates to other major film festivals in Asia, where ‘Asianness’ has been used as a shared effort to distinguish themselves from the paradigm set by European film festivals. However, this is an ongoing process, TIFF struggles to use ‘Asianness’ as a unifying element and the specific interests of each festival obstruct the possibility to create a more systematic trans-Asian model.

scholarly journals CINEFAN 2007

2007 ◽  
Author(s):  
Gönül Dönmez-Colin
Keyword(s):  
New Delhi ◽  
Film Festival ◽  
Asian Countries ◽  
Comprehensive Program ◽  
The World ◽  
Asian Cinema

OSIAN'S CINEFAN - FESTIVAL OF ASIAN AND ARAB CINEMA Celebrating its ninth birthday, Osian's Cinefan (New Delhi, 20-29 July 2007) once again confirmed its status as the most important film festival of India with its comprehensive program, select guest list and stimulating conferences and seminars. The festival, which started as a showcase of Asian cinema has already added a section of Arab cinema to its program a few years ago. This year, Arab films that do not come from the Asian countries were also allowed to enter the competition, which brought a more colorful quality to the program. The fact that a Tunisian filmmaker would share the same concerns with his or her Taiwanese counterpart was another confirmation of the fact that the world was becoming smaller each day and the problems of one country would unavoidably have repercussions on another country, even miles away. The opening film of...

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