tag:blogger.com,1999:blog-77102328240438304902024-03-05T13:04:02.148+08:00Perspectives Film Festival 2011Breakthroughs in cinema. A series of films that were once banned or highly controversial in their country of origin, but have over time made a strong, transformative impact.Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-7710232824043830490.post-31541659305008046512011-12-16T15:56:00.003+08:002011-12-16T16:03:10.232+08:00Cinema offerings in SingaporeHello!<br /><br />Sorry it's been a while since anyone has posted. We've all been busy with end of the year activities. We'll try to be more regular and hopefully focus on what kinds of film screenings are on offer throughout the year.<br /><br />If you haven't heard about what's going on at the Cinematheque at the National Museum of Singapore, I wanted to highlight a really interesting set of screenings coming up in January. It is the <a href="http://www.nationalmuseum.sg/FilmDetail.aspx?id=88">Golden Age of Mexican Cinema</a>, Jan 26-29, 2012.<br /><br /><br /><br />NikkiUnknownhttp://www.blogger.com/profile/04842407224063690180noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-29890194343438297202011-10-26T22:35:00.001+08:002011-10-26T22:35:55.089+08:00Are you ready for the Challenge?The moment we have all been waiting for is fast approaching. Perspectives Film Festival's opening film, Battle of Algiers will be screened in slightly less than 24hrs. Months of hard work and preparation have lead to this festival which aims to take film enthusiasts on a journey. A journey in which they will discover cinematic excellence, a journey in which there is no shortage of entertainment, a journey that is also a challenge to explore controversy and censorship in film in new ways. Many have taken on this challenge and have decided to embark on this journey. Yet, there is always space for more. So book your tickets soon and show that you too are ready to take on the Perspectives Challenge. Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-307699922047331922011-10-22T22:35:00.000+08:002011-10-22T22:35:12.055+08:00Perspectives Film Festival's Official TrailerLadies and Gentlemen,<br />
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The official trailer of Perspectives Film Festival is out. "Look for Perspectives Film Festival 2011 Trailer" on Youtube. The link to the trailer is as follows:<br />
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http://www.youtube.com/watch?gl=US&v=Uqj1CvMFSes <br />
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Watch it, love it and continue buying tickets to your favourite screenings. Tickets are selling fast, so hurry to avoid disappointment.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-65253368744056968152011-10-22T22:22:00.000+08:002011-10-22T22:22:37.865+08:00Caterpillar: Power within the home<br />
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The title suggests the possibility of movement, but the character doesn’t. Staged within a Japanese home in the post-war era, Caterpillar becomes a narrative game of power play between genders. It challenges status and hierarchy with a massive tinge of political significance. The subtle power play between the two lead characters engages the audience to actively participate in the search of knowing who is the lord that controls morality.</div>
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A soldier without limbs. A wife whose husband depends on her. Both characters bring provocative sexual matter onto the table. The film does not compromise, deliberately showing what needs to be seen, transcending the institutionalized violence of the Imperial government and Japanese society.</div>
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Caterpillar is the perfect closing film, offers a contemporary perspective towards gruesomeness and eroticism, shocking the audience with its brilliant use of montage and documentary elements.</div>
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Perspectives Film Festival 2011 presents a film from Japan, ‘Caterpillar’ by Koji Wakamatsu.</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-38694161833472787852011-10-21T12:09:00.001+08:002011-10-21T12:12:44.990+08:00Last 10% of Tickets Left for A Clockwork OrangeLadies and gentlemen,<div><br /></div><div>Thank you all for your support for A Clockwork Orange. We're left with the last 10% of tickets! Unfortunately, tickets are no longer available online. However, if you're dying to watch Kubrick's masterpiece on the big screen, you can...</div><div><br /></div><div>1. Call the GV booking hotline at 1900 912 1234, or</div><div>2. Head down to one of the GV box offices. </div><div><br /></div><div>See you soon! </div>Marcushttp://www.blogger.com/profile/06646236090422363558noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-55998701691031657142011-10-19T15:11:00.000+08:002011-10-19T15:16:27.487+08:00THE JOY OF CELLULOID<div style="color: white; font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">While we were looking around for more treats to reward our film-enthusiastic audience, we came across this article on The Guardian that features big names like Steven Spielberg, Jean-Luc Godard and Martin Scorsese as they discuss and compare working with film and digital. </span></div>
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<span style="font-size: small;">Here's a peak on Godard's view:</span></div>
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<i><span style="font-size: small;">"The so-called 'digital' is not a mere technical medium, but a medium of
thought. And when modern democracies turn technical thought into a
separate domain, those modern democracies incline towards
totalitarianism."</span></i></div>
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<span style="font-size: small;">To continue reading, click <a href="http://gu.com/p/32g5b">here</a>. </span></div>Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-81330885912202450222011-10-14T16:21:00.001+08:002011-10-14T16:21:21.361+08:00THE BLUE KITE - A STRUGGLE FOR POLITICAL FREEDOM<div style="font-family: Arial,Helvetica,sans-serif;">
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<i><span lang="EN-GB" style="font-size: 10pt;">by Jason
Lin, film blogger, SON:sation</span></i><span lang="EN-GB" style="font-size: 13.5pt;"></span></div>
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<span style="font-size: small;">Tian
Zhuangzhuang is a Fifth Generation Chinese Filmmaker, just like the
better-known Chen Kaige and Zhang Yimou. His works have deviated from previous
filmmaking norms, opting for a liberal approach to bold political discussion instead
of blind political propaganda.</span></div>
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<span style="font-size: small;">In Tian’s <i>The
Blue Kite</i>, its intended critique of the significant Maoist Movements over
the decade has been restrained with objectivity through the witness account of
an adolescent boy who grew up during that time. It transcends traditional genre
practice as a documentary within a narrative drama.</span></div>
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<span style="color: white; font-family: Arial,Helvetica,sans-serif; font-size: small;">Tian doesn’t
attempt to lead the audience into taking a subjective angle, but simply conveys
the curiosity of the film’s innocent protagonist. This allows most of us who
are unfamiliar with the difficult period to relate to Tietou. We learn through
his observation before personally deciding what to make of the happenings
depicted in <i>The Blue Kite</i>. Akin to the political struggles featured in
the film, <i>The Blue Kite</i> is an important cinematic struggle against
restrictive state interventions.</span><span lang="EN-GB" style="color: black; font-size: 13.5pt;"></span></div>Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-88417158949779250292011-10-14T16:20:00.000+08:002011-10-14T16:20:10.319+08:00CATERPILLAR: SEXPLOITATION WITH A DIFFERENCE<div style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-size: x-small;"><i><span lang="EN-GB" style="color: black;"></span><span lang="EN-GB" style="color: white;">by Associate
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<span style="font-size: small;"><i>Caterpillar</i>
is the latest opus of Koji Wakamatsu, a veteran of the exploitation genre in
the Japanese cinema who has directed numerous <i>pinku eiga </i>movies (or
“pink films”, a term used by the Japanese to describe soft-core porn movies).</span></div>
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<span style="font-size: small;"><i>Caterpillar,
</i>however, resists the <i>pinku eiga</i> category although it
undoubtedly carries elements of the genre. On the surface, there are scenes of
exploitative sex, violence, and horrible body disfigurations and mutilations
that are par for the course in the genre. Set during the time of World War II
in Japan, the movie portrays a young soldier who arrives home after suffering
injuries that leave him a hump of flesh minus his arms and legs. Idolised as a
"war god", the soldier continues his existence making demands of sex
on his wife who faithfully complies.</span></div>
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<span style="color: white; font-size: small;">Wakamatsu
turns his material into deeper explorations of human behaviour preoccupied by
the primal sex drive even if one partner is deformed and mutilated. There is an
anti-war message as well, but <i>Caterpillar</i> above all exposes the rawness
and the violence of sex. While war delivers horrible injuries on the male
partner, his sex drive delivers both physical and spiritual violence on the
female. Wakamatsu conveys this message in an uncompromising and therefore
confronting manner.</span><span lang="EN-GB" style="color: black; font-size: 13.5pt;"></span></div>Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-28622423045599683262011-10-13T11:10:00.002+08:002011-10-13T11:15:49.488+08:00TICKETS FOR ALL SHOWS NOW AVAILABLE.<div>For <i>The Battle Of Algiers</i> and <i>A Clockwork Orange</i>, go <a href="http://www.gv.com.sg/moviedetails/gv_moviedetails_perspectives_film_festival_2011.jsp">here</a>.</div><div><br /></div><div>For <i>Syndromes And A Century</i>, <i>The Blue Kite</i>, <i>Czech Dream</i> and <i>Caterpillar</i>, go <a href="http://www.ticketbooth.com.sg/SelectEvent.ntuc?EventId=147&cid=6365">here</a>.<br /></div><div><br /></div><div>See you at the festival! </div>Marcushttp://www.blogger.com/profile/06646236090422363558noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-49316323842813364082011-10-12T19:22:00.000+08:002011-10-12T19:24:40.912+08:00ALL TICKETS WILL BE AVAILABLE TOMORROW<div class="separator" style="clear: both; text-align: center;">
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<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}" style="font-size: large;">For The Battle Of Algiers and A Clockwork Orange, visit <a href="http://www.gv.com.sg/" rel="nofollow nofollow" target="_blank">www.gv.com.sg</a>.<br /> <br /> For Syndromes And A Century, The Blue Kite, Czech Dream, Caterpillar, visit Visit <a href="http://www.ticketbooth.com.sg/" rel="nofollow nofollow" target="_blank">www.ticketbooth.com.sg</a>. <br /> <br /> For more information, go to <a href="http://www.perspectivesfilmfestival.com/" rel="nofollow nofollow" target="_blank">www.perspectivesfilmfestival.c<wbr></wbr><span class="word_break"></span>om</a>.</span></h6>Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-57172063809003070542011-10-12T10:18:00.000+08:002011-10-12T10:18:39.299+08:00SYNDROMES AND A CENTURY: INTRODUCTION TO APITCHAPONG WEERASETHAKUL<div style="color: black; font-family: Arial,Helvetica,sans-serif; text-align: justify;">
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<i><span style="font-size: x-small;">by Prof Adam Knee, Head of Broadcast and Cinema Studies, WKWSCI, NTU</span></i><span lang="EN-GB" style="font-size: 13.5pt;"></span></div>
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<span lang="EN-GB" style="font-size: 10pt;">Apichatpong Weerasethakul is at the moment probably the most globally known Thai filmmaker, especially in the wake of his 2010 win of the Palme D’Or at Cannes for his feature film <i>Uncle Boonmee Who Can Recall His Past Lives.</i> This is a bit of a paradox, however, since he is on multiple levels an outsider to the Thai commercial and art filmmaking establishments. </span><br />
<a name='more'></a><span lang="EN-GB" style="font-size: 10pt;">For example, most of those associated with the new Thai cinema, which has developed since the late 1990s, are based in Bangkok and many got their training from (and continue to work for) the highly successful Thai television advertising industry. </span><span lang="EN-GB" style="font-size: 13.5pt;"></span></div>
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<span lang="EN-GB" style="font-size: 10pt;">In contrast, Apichatpong grew up in more rural northeast Thailand and continues to base himself in the smaller northern city of Chiang Mai. He received his film training at the School of the Art Institute of Chicago. His highly experimental film and video shorts, features, and installation pieces, moreover, did not initially have much of an audience in Thailand and started to develop their reputation, rather, among international aficionados of art cinema.</span></div>
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<span lang="EN-GB" style="font-size: 10pt;">Apichatpong’s</span><span lang="EN-GB" style="font-size: 10pt;"> first feature, <i style="mso-bidi-font-style: normal;">Mysterious Object at Noon </i>(2000), drew attention for its unique semi-documentary story-telling approach in which various Thai interviewees relate different parts of a fantastical story, while <i style="mso-bidi-font-style: normal;">Blissfully Yours</i> (2002) and <i style="mso-bidi-font-style: normal;">Tropical Malady </i>(2004) both won awards at Cannes for their mysterious, deliberately paced meditations on Thailand’s rural environment. </span></div>
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<span lang="EN-GB" style="font-size: 10pt;">It is perhaps emblematic of Apichatpong’s outsider status that his film <i>Syndromes and a Century </i>(2006), while arguably his most accessible feature to date, drew objections from Thai film censors, for scenes perceived as irreverent in their attitude towards Buddhist monks and medical professionals.</span></div>
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<span lang="EN-GB" style="font-size: 10pt;">Rather than accept requested cuts, Apichatpong cancelled the film’s initial release in Thailand—and went on to help form the Free Thai Cinema Movement against censorship with other Thai activists, intellectuals, and cineastes.</span></div>
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Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-69044244519735039132011-10-09T11:54:00.000+08:002011-10-09T11:54:04.164+08:00CZECH DREAM: FILIP REMUNDA<div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;">
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<b><span style="font-size: large;">How was the hilarious yet extremely astute <i>Czech Dream</i> born? FILIP REMUNDA, one of the two visionary directors of the film, fills us in about their inspiration, and their take on all the controversy surrounding <i>Czech Dream</i>. </span></b></div>
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<span style="font-size: small;">The Czech Republic used to be a Communist country (Czechoslovakia), and ideological propaganda pervaded. However the country is now capitalist and inundated with commercial propaganda. Supermarkets and shopping malls are expanding quickly, and people are spending whole weekends visiting them. <i>Czech Dream</i> was our artistic response to this.</span></div>
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<span style="font-size: small;">Vít Klusák and I met during the workshop led by director Karel Vachek at FAMU film academy in Prague. After discussing philosopher Vilém Flusser’s <i>Behind the Philosophy of Photography,</i> we talked about the "electronic images" of our time, and also about Czech media. Vít mentioned an incident involving his friends, actor Petr Lorenc and artist Krištof Kintera, who organised a grand public opening of the GIDADIGA Supermarket, which offered non-existing products. When I heard about their performance I immediately told Vít, this is a film. We started to develop it into a script and wanted serious companies and business professionals to be involved.</span></div>
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<span style="font-size: small;">We wanted to be controversial. We wanted to provoke. We succeeded in prompting the public to reflect upon themselves and the media. The international press understood what we were getting at with <i>Czech Dream</i>, but the Czech media did not. Nonetheless, the Czech language today has gained a new term of expression. "Czech Dream" is often used to refer to political trickery.</span></div>
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<span style="font-size: small;">To the aspiring directors out there, I hope you will go beyond the conventions of a genre. Be ready to take risks. You can create a film without a clear message or ending. Go ahead even if you are not sure what it is you want to say. Let the film be smarter than you are, and let it be inspirational. </span></div>
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<span style="font-size: small;">Filip Remunda <i>is a graduate of prestigious film academy Fakulta Akademie Múzických Umění</i> (FAMU)<i>.</i> <i style="color: white;">His film, was named best documentary film at the 2002 Karlovy Vary International Film Festival and at the 2003 FAMU Festival, and it received the Don Quixote Award at the 2003 Art Film Trenčianské Teplice festival, as well as several other prizes at festivals in Europe and the United States.</i></span></div>
Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-17646272683059265442011-10-09T10:23:00.000+08:002011-10-09T10:23:30.354+08:00CZECH DREAM: THE GREAT ADVERTISING SWINDLE<div style="color: #444444;">
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<i><span style="font-size: x-small;">by Aishah Abu Bakar, Programming Manager,
Moving Images, The Substation</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZiW7HkYkQ-J2Wv54YQ3UEIkcvfGXWXd0eUY_QQN4caXfdIin46DG4lu94vpma5zeaN1Sn9XV9DrwknE7VTVJkEz3fQH1ypA7rCpprfSw45ve7EjWqZIbiUtwdbxv-W-jNlFJzPiE27YU/s1600/CzechDream_5_%2528Photo+by+Karel+Cudl%25C3%25ADn%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZiW7HkYkQ-J2Wv54YQ3UEIkcvfGXWXd0eUY_QQN4caXfdIin46DG4lu94vpma5zeaN1Sn9XV9DrwknE7VTVJkEz3fQH1ypA7rCpprfSw45ve7EjWqZIbiUtwdbxv-W-jNlFJzPiE27YU/s400/CzechDream_5_%2528Photo+by+Karel+Cudl%25C3%25ADn%2529.jpg" width="400" /></a></div>
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<span style="font-size: small;">In 2004, two student filmmakers from the
Czech Film Academy decided to study their nation’s human behaviour. In an
attempt to find out how easily a person can be persuaded through advertising
gimmicks, they create a campaign for a hypermarket called Czech Dream. </span></div>
<a name='more'></a><div style="color: white; font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">With the
help of professionals, the campaign reaches out to the entire country. The day
comes when Czech Dream opens its doors to the public, seduced by the minimalist
designs, tongue-in-cheek slogans, and an anthemic jingle. Is this just another
ideology that is too good to be true?</span></div>
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<span style="font-size: small;"><i>Czech
Dream</i> is a commentary on the consumerist
culture that has a firm hold in these times. A documentary that not only mocks
the advertising world, but also the nature of the consumer itself, it is
fearless in its intentions, yet honest in its portrayal of human absurdity. In
some ways, it may teeter on the fine line between responsible filmmaking and
pushing the boundaries in order to obtain a reaction. With such a strong
concept, <i>Czech Dream</i> gives you anticipation
and trepidation, leading to a climax/anti-climax of sorts, just the thing you want
from a film.</span></div>
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Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-33502777288619300242011-10-07T08:55:00.000+08:002011-10-07T09:30:43.262+08:00THE BATTLE OF ALGIERS: RECONSTRUCTING HISTORY<div style="color: white; font-family: Arial,Helvetica,sans-serif;">
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<i><span style="font-size: x-small;">by Professor Heitor Capuzzo, School of Art,
Design and Media, NTU</span></i></div>
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<span style="font-size: small;"><i>The Battle
of Algiers</i> is a unique film experience. The director Gillo Pontecorvo
presents a vigorous display about the process of independence for Algerians
from the occupying French in the 1950s.</span></div>
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<span style="font-size: small;">The film
describes in detail the strategic steps from either side in the conflict. While
the French soldiers used methods of torture, the Algerians on the other hand,
planted bombs in public spaces escalating the violence to the level of a civil
war.</span></div>
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<span style="font-size: small;">Pontecorvo
used the documentary style in reconstructing facts with a strong impression of
reality. Algerians are here the main characters of their own history. The
narrative works as a time machine allowing our perception to go beyond the mere
understanding of historical incident. It instead allows for a powerful and
dialectic immersion into the revolutionary process.</span></div>
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<span style="font-size: small;">The film
also serves as a model to learn about urban guerrilla strategy in modern
societies. Because of that<i> The Battle of Algiers</i> was forbidden in many
countries with the mislabelled status of "terrorist propaganda".</span></div>
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<span style="font-size: small;">While
watching this film, it is possible to rethink many recent international
incidents where violence became the answer against the advance of
neo-colonialism. In this sense, <i>The Battle of Algiers</i> is a film about
the past to alert us, in the present time, about our urgent need to face the
future.</span></div>
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</span>Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-88100694027380558962011-10-05T20:19:00.004+08:002011-10-05T20:24:43.737+08:00Riddle Contest on Facebook!Ladies and gentlemen, <div><br /></div><div>Perspectives Film Festival is organising a riddle contest on our Facebook page, <a href="http://www.facebook.com/perspectivesff">www.facebook.com/perspectivesff</a>. We are giving away two tickets for each screening to our winners! Take a look at our photo album named "Riddle Contest" for rules and riddles! </div><div><br /></div><div>Have fun, and good luck! </div><div><br /></div><div><br /></div>Marcushttp://www.blogger.com/profile/06646236090422363558noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-67509507575473175362011-10-03T08:59:00.000+08:002011-10-07T09:01:21.752+08:00A CLOCKWORK ORANGE: JAN HARLAN<div style="font-family: Arial,Helvetica,sans-serif;">
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<b><span style="font-size: large;">Why did Stanley Kubrick, eminent
director of <i>A Clockwork Orange</i>,<i> </i>withdraw his own film from
distribution? On the film’s 40<sup>th</sup> anniversary, assistant producer JAN
HARLAN sheds some light on the controversy. </span></b></div>
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<br /></div>
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<span style="font-size: small;">Great artists, who are critical of their societies, are one of the
achievements of a free and democratic society. Stanley Kubrick was one of them.
He was a great observer of society. His film,<i> A Clockwork Orange</i>, is
still considered a worldwide success, for it stands out within its genre as a
work of art.</span></div>
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<span style="font-size: small;"></span></div>
<a name='more'></a><span style="font-size: small;"> </span><br />
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</div>
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<span style="font-size: small;">Following
the film’s release, “ever so virtuous people” who saw the film attacked Kubrick,
neither understanding nor seeing the concern that this film expresses. Many
felt that the rape scenes were excessive but Kubrick always felt that a rape on
screen should be shown as the vicious and disgusting crime is. This in fact
heightened the seriousness of the film’s central issue. Later, the press also
entered the foray as a form of revenge against Kubrick, who disliked
journalists. The whole hype turned into an uncomfortable attack on Kubrick who
received many threatening letters. This led Kubrick to ask Warner Bros. to
withdraw the film.</span></div>
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</div>
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</div>
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<span style="font-size: small;">However, it
has to be said that the intense reaction towards the film was expected. Yet,
one cannot deny that <i>A Clockwork Orange</i> was and still is an
extraordinary film. And on its 40<sup>th</sup>
anniversary, it is unfortunate that the film remains socially and politically
relevant, now more than ever.</span></div>
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<span style="color: white; font-size: small;"><span lang="EN-GB" style="font-family: Arial,Helvetica,sans-serif;">Jan Harlan<i> was an assistant to the producer
in </i>A Clockwork Orange<i>, and has worked closely with Stanley Kubrick in
four films including his last, </i>Eyes Wide Shut. <i>He is Kubrick’s
brother-in-law and directed a documentary about him, titled </i>Stanley
Kubrick: A Life in Pictures. <i> </i></span></span><span lang="EN-GB" style="color: black; font-size: 13.5pt;"></span></div>
Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-17445751581465041492011-10-03T08:57:00.000+08:002011-10-07T08:58:16.498+08:00A CLOCKWORK ORANGE: STANLEY KUBRIKC'S MORE CONTROVERSIAL FILM<div style="color: white; font-family: Arial,Helvetica,sans-serif;">
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<div style="color: white; font-family: Arial,Helvetica,sans-serif;">
<i><span style="font-size: x-small;"><span lang="EN-GB">by David Lee,
Singapore Film Society</span> </span></i></div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif;">
</div>
<div class="MsoNormal" style="color: white; font-family: Arial,Helvetica,sans-serif; text-align: justify;">
<span style="font-size: small;"><span lang="EN-GB">A
darkly satirical adaptation of Anthony Burgess’s dystopian novel of the same
name,<i> A Clockwork Orange</i> is one of Stanley Kubrick’s most iconic films,
and certainly his most controversial, with the film being banned in UK for some
27 years.</span></span></div>
<div class="MsoNormal" style="color: white; font-family: Arial,Helvetica,sans-serif; text-align: justify;">
<br /></div>
<a name='more'></a><br />
<div style="color: white;">
</div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: justify;">
<span style="font-size: small;">Even
in the United States, where the film was originally rated X, 30 seconds of
sexually explicit footage were replaced voluntarily by Kubrick himself for an
R-rated re-release in 1973. </span></div>
<div style="color: white; text-align: justify;">
</div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: justify;">
<br /></div>
<div style="color: white; text-align: justify;">
</div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: justify;">
<span style="font-size: small;">Despite
the controversies surrounding the film, Kubrick was nevertheless critically
recognised for his work and nominated for some of the movie industry’s top
accolades such as Best Film and Best Director at The Oscars and BAFTA.</span></div>
<div style="color: white; text-align: justify;">
</div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: justify;">
<br /></div>
<div style="color: white; text-align: justify;">
</div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: justify;">
<span style="font-size: small;">Was
the film ban a convenient scapegoat for the social ills and the so-called copycat
crimes in UK back then? Or was Kubrick simply too ahead of his time that the
general public was just not ready? </span></div>
<div style="color: white; text-align: justify;">
</div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: justify;">
<br /></div>
<div style="color: white; text-align: justify;">
</div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: justify;">
<span style="font-size: small;">The
film stood the test of time and is now widely regarded as a cult film and a
landmark film in pushing the boundaries of censorship. On a more personal note,
it is one of the best films from my favourite auteur (the other being Dr
Strangelove), containing several delights such as the baroque art direction,
clever juxtaposition of Beethoven’s classical music and the unforgettable
tour-de-force performance by Malcolm McDowell. </span></div>
<div style="color: white; text-align: justify;">
</div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: justify;">
<br /></div>
<div style="color: white; text-align: justify;">
</div>
<div style="color: white; font-family: Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: justify;">
<span style="font-size: small;">I am
certainly looking forward to watching <i>A Clockwork Orange </i>for the third
time and my first viewing on the wide screen at Perspectives Film Festival!</span></div>
Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-28153284633889958772011-09-27T09:39:00.000+08:002011-09-29T16:33:06.698+08:00CRITICAL COMMENTARY ON CENSORSHIP<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: left;">
</div>
<div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin-bottom: 16.2pt; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #2a2a2a; font-size: 10pt;"><i style="color: #cc0000;">FILMING UNDER PRESSURE</i></span></b></div>
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</div>
<div class="MsoNormal" style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; line-height: 150%; margin-bottom: 16.2pt; text-align: left;">
<span style="font-size: 10pt; line-height: 150%;">The work of
film censorship is always unimaginable and unpredictable. In an interview the
famous Iranian film director, Abbas Kiarostami, recounted that the milking cow
scene in <i>The Wind Will Carry Us</i> <i style="mso-bidi-font-style: normal;">Away</i>
should have been removed since it was deemed to be pornographic by the censors.
But he refused to do that. Thus,
the film was banned in Iran. Not
surprisingly, the relationship between filmmakers and censors is uneasy and
troublesome.</span><br />
<a name='more'></a><span style="font-size: 10pt; line-height: 150%;"> As African novelist and Nobel laureate J.M. Coetzee writes,
“Working under censorship is like being intimate with someone who does not love
you, with whom you want no intimacy, but who presses himself in upon you.”
While this analogy perhaps accurately illustrates the troubled relationship
between filmmakers and censors, it doesn’t explain various forms of film
censorship across the world. For instance, people easily neglect the insidious
power of market censorship and latent power of social censorship. </span></div>
<div style="text-align: left;">
<span style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span></div>
<div class="MsoNormal" style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; line-height: 150%; margin-bottom: 16.2pt; text-align: left;">
<span style="font-size: 10pt; line-height: 150%;">Given the
encompassing presence of censorship, a utopian question suddenly comes to my
mind: Is a world without censorship possible? Is there any guarantee that an
absence of censorship creates a lot of high quality films? Of course, there is
no easy answer to these questions. But perhaps we can measure the effects of
film censorship. Film censorship not only affects a filmmaker as an individual,
but also society as a whole. Under the reign of film censorship, we only have
limited forms of films to watch and restricted space for critical and robust
discussions evoked by films. Moreover, film censorship sustains political
establishment and prevents social change. </span><span lang="EN-GB" style="font-size: 10pt; line-height: 150%;"></span></div>
<div style="text-align: left;">
<span style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span></div>
<div class="MsoNormal" style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; line-height: 150%; margin-bottom: 16.2pt; text-align: left;">
<span style="font-size: 10pt; line-height: 150%;">As is well
known, there are various attitudes towards film censorship. For a conservative
group, censorship will protect social order and morality from the harmful
effects of films. In contrast, a liberal (as well as moderate) group fights
against censorship since it violates freedom of expression and civil rights. In
fact, both groups believe in the powerful influence of film on the audience,
particularly among children and young people. But they tend to overlook the
capacity of the audience to respond critically to film content. As a result,
censorship is perceived simply as external pressure (force) upon filmmakers rather
than an internal process.</span><span lang="EN-GB" style="font-size: 10pt; line-height: 150%;"></span></div>
<div style="text-align: left;">
<span style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span></div>
<div class="MsoNormal" style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; line-height: 150%; margin-bottom: 16.2pt; text-align: left;">
<span style="font-size: 10pt; line-height: 150%;">When we are
being occupied by the worries of external (official) censorship, we should not
underestimate the work of self-censorship. A Hungarian writer Danilo Kis states
that self-censorship is the negative pole of creative energy. It distracts and
irritates, but sometimes, when it comes into the positive pole, it can produce
a spark. Contrasting official censorship with self-censorship, Kis remarks,
“The fight against censorship is open and dangerous, therefore heroic, while the
battle against self-censorship is anonymous, lonely and unwitnessed, and it
makes its subject feel humiliated.” Thus, our next question is: how does a
filmmaker fight against his/her self-censorship demon in the film making
process? Perhaps the challenge for filmmakers is, as a great Polish filmmaker
Andrzej Wajda put it, “to create work that makes censors’ methods inoperable.”
By watching the films in the Perspectives Film Festival 2011, we may understand
whether the filmmaker is triumphant or losing over his/her battle against
internal as well as external film censorship.</span></div>
<div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; line-height: 150%; margin-bottom: 16.2pt; text-align: left;">
<span style="color: #2a2a2a; font-size: 10pt; line-height: 150%;"></span></div>
<div style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: left;">
<i><b><span style="color: #2a2a2a; font-family: "Georgia","serif"; font-size: 10pt; line-height: 150%;"><span style="color: #cc0000; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">ABOUT THE WRITER: BUDI IRAWANTO</span></span></b><b><span style="color: #2a2a2a; font-family: "Georgia","serif"; font-size: 10pt; line-height: 150%;">
</span></b><span lang="EN-GB" style="color: #2a2a2a; font-family: "Tahoma","sans-serif"; font-size: 10pt; line-height: 150%;"></span></i></div>
<div style="text-align: left;">
<i>
</i></div>
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<i style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 10pt; line-height: 150%;">The writer is
director of the Jogja-NETPAC Asian Film Festival (JAFF). Currently, he is doing
research on cultural politics of contemporary cinema in Indonesia and Malaysia
for his dissertation project in the Department of Southeast Asian Studies at
the National University of Singapore.</span></i><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-family: "Helvetica Light"; font-size: 10pt; line-height: 150%;"></span></u></b></div>
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<br /></div>
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<br /></div>
Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0tag:blogger.com,1999:blog-7710232824043830490.post-31262677549951898132011-09-23T12:39:00.004+08:002011-09-29T16:36:59.901+08:00HISTORY OF PERSPECTIVES<div style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: left;">
</div>
<div class="MsoNormal" style="color: #cc0000; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: left;">
<span style="font-size: small;"><i><b><span lang="EN-GB">PERSPECTIVES – A BRIEF HISTORY</span></b></i></span></div>
<div style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: left;">
<span style="font-size: small;"><br /></span></div>
<div style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: left;">
<span style="font-size: x-small;"><i><span lang="EN-GB" style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">The<span class="apple-converted-space"> </span>Perspectives Film Festival, organised jointly by students from the Wee Kim Wee School of Communication and Information (WKWSCI) and other students and professionals, is now in its fourth year. Every year we seek to bring to our audiences a different perspective on breakthroughs in cinema.</span></i></span></div>
<div style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: left;">
<span style="font-size: small;"><br /></span></div>
<div style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: left;">
<span style="font-size: small;"><span lang="EN-GB" style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">Ever since the<span class="apple-converted-space"> </span><i>cinematograph</i><span class="apple-converted-space"> </span>was invented, film makers became intrigued by the dynamism of film as a medium. Some experimented with the cinema's narrative capabilities, creating compelling stories out of moving images, fabricating convincing characters that audiences loved and hated. </span></span><br />
<a name='more'></a><span style="font-size: small;"><span lang="EN-GB" style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">Some documented reality, charging the camera with the task of recording life. Others manipulated time and space, excited by the unprecedented plasticity of the medium. With the advent of the digital age, film makers created alternative worlds with wilder imagination and even greater finesse. With all these come countless breakthroughs, each as significant as the one before. </span></span></div>
<div style="color: white; text-align: left;">
<span style="font-size: small;"> </span></div>
<div style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: left;">
<span style="font-size: small;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: left; color: white; float: left; margin-bottom: 1em; margin-left: 0px; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKYKH_oY0VARS9FQF0yVBO6DQFUtBPMFMmImDSEsAVcThGjZnYX231-GocMkxDzqA_xIjBPY9qgNyIxfe2aoftF_QWFSG-eiiz3BMhdI4lB3xc8p8gV0Q8DPQTq4IOkD7w1OJWo7BudxY/s1600/pff2008.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKYKH_oY0VARS9FQF0yVBO6DQFUtBPMFMmImDSEsAVcThGjZnYX231-GocMkxDzqA_xIjBPY9qgNyIxfe2aoftF_QWFSG-eiiz3BMhdI4lB3xc8p8gV0Q8DPQTq4IOkD7w1OJWo7BudxY/s200/pff2008.jpg" width="140" /></a></span></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: xx-small;"><i>Poster for Perspectives Film Festival 2008</i></span></td></tr>
</tbody></table>
<div style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: left;">
<span style="font-size: small;"><span lang="EN-GB" style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">In 2008, the<span class="apple-converted-space"> </span><i>Perspectives Film Festival</i>'s inaugural year, we sought to explore the Golden Age of Singapore cinema – a milestone era when Singaporean cinema blossomed as a homegrown industry and made a name for itself in the region. Beautifully named "The Film Lovers' Guide to Living Well", the festival opened with Yi Sui's<span class="apple-converted-space"> </span><i>Lion City</i>, recognised as Singapore's first Chinese film. With an emphasis on Malay films and P. Ramlee's<span class="apple-converted-space"> </span><i>Seniman Bujang Lapok</i><span class="apple-converted-space"> </span>as our closing film, the festival gave our audiences a glimpse of the glory days of early Singaporean cinema. </span></span></div>
<div style="color: white; text-align: left;">
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<span style="font-size: small;"><br /></span></div>
<div style="color: white; text-align: left;">
<span style="font-size: small;"> </span></div>
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<span style="font-size: small;"><br /></span></div>
<div style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: left;">
<span style="font-size: small;"></span></div>
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<span style="font-size: small;"><br /></span></div>
<div style="color: white; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; margin: 0.1pt 0in; text-align: left;">
<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 0px; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCXTiHPr2ccYaFIYasrI0vWjrEEramodkxNcSURhLIkeFieLLQdXexgPySmVRmMN_fQs2tfD0qGKywi6FUwcPwF7RGid5Go8mPvMRvWW8gvbI9Xmhk08LSpsRqDJgvZhc9fBi388JyuDo/s1600/pff2009_mm.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCXTiHPr2ccYaFIYasrI0vWjrEEramodkxNcSURhLIkeFieLLQdXexgPySmVRmMN_fQs2tfD0qGKywi6FUwcPwF7RGid5Go8mPvMRvWW8gvbI9Xmhk08LSpsRqDJgvZhc9fBi388JyuDo/s200/pff2009_mm.jpg" width="140" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Poster for Perspectives Film Festival 2009 </i></span></td></tr>
</tbody></table>
<br />
<span style="font-size: small;"><span lang="EN-GB" style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">Monster Mania, the second installment to our<span class="apple-converted-space"> </span><i>Perspectives Film Festival</i>, was a decided deviation from the serious tone in the previous year. We were determined to find a genre that draws both young and old, a genre that people love and keep coming back to. With a free outdoor screening of<span class="apple-converted-space"> </span><i>Godzilla vs. King Ghidorah<span class="apple-converted-space"> </span></i>to open the festival, we decided to present audiences with a selection of monster films. We closed with<span class="apple-converted-space"> </span><i>Nosferatu</i>, a classic horror film that inspired subsequent vampire films. Unprecedented was the collaboration with three musical groups in Singapore to produce and perform the score for the silent film. </span></span></div>
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<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivpJGCIlvgy5WT7pdiikdbiFoLxkCRwRGm4aJ5H_VYZdjNr-3U7FcOAI0EqaW3C2vpaHZyoqn1v_yIQALmamNlw1HT6eZ9PqSweaWzOhb4AnPHHsnFWls6Z6TzHC4U1wNuP5GN3xMp3Mk/s1600/pff2010_GP_PH.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivpJGCIlvgy5WT7pdiikdbiFoLxkCRwRGm4aJ5H_VYZdjNr-3U7FcOAI0EqaW3C2vpaHZyoqn1v_yIQALmamNlw1HT6eZ9PqSweaWzOhb4AnPHHsnFWls6Z6TzHC4U1wNuP5GN3xMp3Mk/s200/pff2010_GP_PH.jpg" width="140" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Poster for Perspectives Film Festival 2010</i></span></td></tr>
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<span style="font-size: small;"><span lang="EN-GB" style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">Reality versus fiction: this dialectic is often studied, explored and experimented upon in cinema. That was also our focus for<span class="apple-converted-space"> </span><i>Perspectives 2010</i>. For our third attempt at exploring breakthroughs in cinema, we curated films that break the boundaries between what is real and what is made-up. The selection of films included Ari Folman's animated documentary<span class="apple-converted-space"> </span><i>Waltz with Bashir</i>, the first full-length feature animated documentary in cinematic history, and Alexander Sokurov's<span class="apple-converted-space"> </span><i>Russian Ark,<span class="apple-converted-space"> </span></i>the first and only feature shot in an uninterrupted 96-minute long take. These films flirt with reality and fiction, carving for themselves a new space between the longstanding genres of documentary and drama.</span></span><br />
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<span style="font-size: small;">The <i>Perspectives Film
Festival</i> is run annually by students taking the Film Festival
Practicum course, offered by Wee Kim Wee School of Communication and
Information. With help from instructors and professional collaborators, we
learn the ropes of organising and executing a film festival – curating films,
managing budgets, designing websites and writing for collaterals, securing
locations and publicizing the festival. Being the premier student-run film
festival of Singapore, we seek each year to offer our audiences an enjoyable
and enriching festival that is known for curating groundbreaking cinema. We
hope you enjoy <i>Perspectives 2011</i>,
and come back for more in the years to come! <span lang="EN-GB"></span></span></div>
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Roshttp://www.blogger.com/profile/11678216056413029102noreply@blogger.com0