or, “Monday in the Sun” as interpreted by Kenzo Saeki. Ah, electronica and kitsch ^_^
More tracks/music videos:
Comme d’habitude (the basis for “My Way”)
Glimpses of Tokyo at night, kaleidoscopically manipulated and set to an electronic track. Visually very cool.
One of her student works from 2002. Interesting song by Chiku Toshiaki (知久寿焼).
– Vantan gets a sneak preview of the Peranakan Museum. The museum occupies the old Tao Nan school building at Armenian Street, next to The Substation.
– PingMag pays homage to Tony Silver, one of the first to identify and capture the anarchic spirit of graffiti culture on film in the 1984 Style Wars. When he went back to interview the same kids in 2003:
The reunion was different for each person. Some of them had succeeded as artists while others regretted what they had done in the past. But every single one of the kids Silver had captured in the early ’80s on his 16mm film were radiant and the filmmaker who shared that moment might have been one of the first few adults to deeply understand hip-hop culture.
– Omodaka, responsible for the infectious Kokoriko Bushi video, has more music videos up on YouTube.
What is OMODAKA?
OMODAKA is the name of the project developed through a trial and error process of mutational fusion of music and motion graphics. It will knock over your existing image toward a music video by a beautiful trajectory.
音楽とモーション・グラフィックスの突然変異的融合を試行錯誤してきた企画の名前それ が OMODAKA。あなたのミュージックビデオに対する既存イメージを美しい軌跡でひっ くり返します。
– Ok, we know Makhmalbaf, Kiarostami, Majidi, Abbas, (does Satrapi count? viz. Persepolis) But who’s Rakhshan Bani-Etemad?
Internationally, Rakhshan Bani-Etemad is a directors’ director, loved by the dedicated and the educated. At home, she is a godmother of Iranian cinema who has been working for two decades and whose films are hits even as they critique Iran’s paternalism. Her work deserves to be seen abroad because she addresses many of the questions which western Europe and America have, not only about living in an Islamic state but also about the individuality and identity of all women who live under anti-woman regimes.
– In criticising religion, atheists don’t have a good explanation of why religion is still so pervasive. They seem to have ignored its narrative power, as Mark Dery argues:
Arguably, this is because it’s not about God; rather, religion is simply the only philosophical (or, if you will, mythic) language available to some Americans to articulate their discontent and their visions of social change. The Dawkins/Hitchens question—What’s wrong with religion?—is far less illuminating than the question they might have asked: What are American evangelicals really talking about when they talk about religion?
Radio Station Forgot To Play My Favourite Song is a documentary on Singapore rock circa 2003, shot as a final year project. It’s up on the internet now — available for all to see.
(To be honest, I’m generally not as enthusiastic about rock/alternative music. I think our musicians are as good as any in the world, even better, but I’m not crazy about any music “scene”, local or foreign. I pick and choose – a few singers, the odd duo or trio. Anyone with solid lyrics and a pleasing arrangement.)
Wanted to highlight the saddest part, from the blog of one of the ex-documentarians:
The 3 of us have always enjoyed the compliments over the years but its also a little sad that none of us are within even sniffing distance of the hotshit rockumentarians we were 5 years ago – in fact we’ve all joined the SYSTEM and are civil servants now. If there were still anything remotely creative and edgy left in us, it probably would’ve been shat out of us by now. Sadly, we’re fading away instead of burning out. At least we still try to have our weekly beer sessions, which had its beginnings in RSFTPMFS’s preproduction stages.
Which reminds me of another postscript (post-mortem?):
The people who won the big awards in the NYU festival that year haven’t done much better than I have. I now live in Hollywood, as do many of my classmates from NYU. We all work day jobs to pay the bills, we all write screenplays in our free time. We get together and read one another’s screenplays sometimes. We go out for drinks and complain about our jobs and ponder whether any of us will ever direct another film.
Deep down we all still believe we will be making films again sometime soon. But the truth is time is passing and film school is receding into memory. And a few thousand more film school graduates move into town every year and compete for the same directing jobs.
NTU’s Wee Kim Wee School of Communication and Information has teamed up with the National Museum to screen some very much older Singapore films from the 60s.
Featured are films which had reigned Singapore’s golden and most prolific film-making period:
P. Ramlee’s Seniman Bujang Lapok
Salleh Ghani’s Tun Fatimah
B. N. Rao’s Sumpah Pontianak
Hussain Haniff’s Hang Jebat
To add on, Perspectives Film Festival will also screen Singapore’s first Chinese-language film, Lion City by Yi Sui! Despite being our debut Chinese-language film, Lion City is rarely seen with its last appearance being 3 years ago at Screen Singapore 2005!
You’d think that a “school of communication and information” would come up with a better website, but here it is.
Most of these movies were made before Singapore became a nation-state of its own. Back then, almost everyone thought of themselves as “Malayan”. How meaningful is it then, to appropriate these movies as part of an ideal Singaporean film past?