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 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...

Interview with Bill Gallegos

2015 ◽  
Vol 67 (5) ◽  
pp. 18
Author(s):  
Elly Leary ◽  
Anne Lewis
Keyword(s):  
Social Movements ◽  
Environmental Justice ◽  
Golden Age ◽  
Executive Director ◽  
Index Volume ◽  
Monthly Review ◽  
The 1960S

As we veteran activists of the 1960s and early '70s enter our <em>a&ntilde;os del retiro</em>, it is time for reflection, summation, and most importantly sharing what we have learned with those reaching to grab the baton. Many of us, now grandparents, are getting questions from our grandkids and kids about our lives in the "golden age" of U.S. social movements. &hellip; Bill Gallegos has been an activist since the 1960s, when he became involved in Crusade for Justice, a revolutionary Chicano nationalist organization. He has since emerged as a leading socialist environmental justice activist, and is the former executive director of Communities for a Better Environment.<p class="mrlink"><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-67-number-5" title="Vol. 67, No. 5: October 2015" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>

scholarly journals Hong Kong and Singapore 1997

1997 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Hong Kong ◽  
East Asia ◽  
Film Festival ◽  
Global Cinema ◽  
The World ◽  
The Republic ◽  
Asian Cinema ◽  
Selection Of

THE PRESTIGIOUS 21st HONG KONG International Film Festival, which concluded on 9 April 1997, presented its largest and perhaps the greatest collection of global cinema with some 280 films and video works. This year, this non-competitive festival attracted more than three hundred festival guests and major critics from all over the world with more than half of them coming from Japan and East Asia.  Its humbler counterpart, the Singapore International Film Festival (SIFF) is now in its 10th year. Some 220 films were shown there (including a number of fringe films and videos presented at the Goethe Institute, and a retrospective of François Truffaut's films screened at the Alliance Française). Film critics and festival directors flew over to the Republic to view the sensitive selection of Asian cinema by the festival programmer Philip Cheah. In its competitive section for Asian films, the SIFF honours the winners with its Silver...

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...

Postcolonial Hangups in Southeast Asian Cinema

2020 ◽  
Author(s):  
Gerald Sim
Keyword(s):  
Experimental Work ◽  
Southeast Asian ◽  
Colonial History ◽  
Art Cinema ◽  
Asian Cinema

Postcolonial Hangups in Southeast Asian Cinema: Poetics of Space, Sound, and Stability explores a geopolitically situated set of cultures negotiating unique relationships to colonial history. Singaporean, Malaysian, and Indonesian identities are discussed through a variety of commercial films, art cinema, and experimental work. The book discovers instances of postcoloniality that manifest stylistically through Singapore’s preoccupations with space, the importance of sound to Malay culture, and the Indonesian investment in genre.

Conclusion

2020 ◽  
Author(s):  
Gerald Sim
Keyword(s):  
Critical Theory ◽  
Southeast Asia ◽  
Continental Philosophy ◽  
Southeast Asian ◽  
The Political ◽  
Asian Studies ◽  
Future Studies ◽  
Southeast Asian Studies ◽  
Asian Cinema ◽  
Experimental Films

Inaugurated by a theoretical reading of experimental films from Indonesia, the Conclusion proposes principles and methods for future studies of Southeast Asian cinema. It grapples self-reflexively with the implications of applying critical theory and continental philosophy on undertheorized films from Southeast Asia, and acknowledges historical apprehensions regarding theory’s ability to imperialize knowledge. These intellectual politics render it worthwhile to ponder the political roots of Southeast Asian studies and area studies, for they are disciplines rooted in imperial and neo-imperial projects as well. Out of that conundrum, Southeast Asia’s uniqueness creates challenges for research, but these cinemas may also provide the infrastructure for a method that can wriggle free and clear these ideological or political overhangs.

Singapore 2001

2002 ◽  
Author(s):  
Brandon Wee
Keyword(s):  
Hong Kong ◽  
Golden Age ◽  
Status Quo ◽  
Film Festival ◽  
Film Culture ◽  
Problematic Use ◽  
The Past ◽  
Island State ◽  
Film Productions

SINGAPORE INTERNATIONAL FILM FESTIVAL 2001: CROUCHING TYRANTS, HIDDEN TALENTS For a young island-state that once saw a "golden age of cinema" in the 50s and 60s, it was bittersweet to witness, after a score of idle years, a rise in the number of local film productions in the 1990s. But where local movies of the past triumphed in forging an indigenous film culture, recent Singaporean films have all but ignored the significance of maintaining such an objective. History, in this instance, has indeed repeated itself. Just as the thriving industry that had once characterised the "golden age" succumbed to the escalating popularity of Hong Kong and Taiwanese films in the 60s and 70s, the haphazard accomplishments of Singaporean films this past decade look set to remain in subordination to a longer-standing nemesis: that of Hollywood's domination. The consequence of this status quo has only served to highlight the problematic use...

scholarly journals Bangkok 2003

2003 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Executive Director ◽  
Film Festival ◽  
Programme Director ◽  
Important Objective

BANGKOK INTERNATIONAL FILM FESTIVAL 2003 Last October, festival founder Brian Bennett attempted to mount what should have been the festival's 5th edition but this was not to be due to lack of funds. This year's edition has been taken over by main sponsor and organiser, the Tourism Authority of Thailand (TAT), and was simply called the 2003 Bangkok International Film Festival (10-21 January 2003). Interestingly, the presidency of the BKKIFF went to the governor of the cash-rich TAT, Juthamas Siriwan. Patrick de Bokay served as the festival's executive director and Kriengsak "Vic" Silakong, the festival's programme director. The country's number one English daily, The Nation, handled the festival operations. The declared aim of the organisers was to establish their first BKKIFF as a regional and international hub for film buffs as well as for potential film investors and those in the film trade. Its other equally important objective was...

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