FFY3: Film Festivals and East Asia

January 8, 2011 at 11:52 am

I am pleased to announce the publication of our new volume from the Film Festival Yearbook undertaking, the third one in a row. Co-edited by myself and Ruby Cheung, this one is dedicated to Film Festivals and East Asia and is available to order from our web-site; it is also possible to order it in combination with our previous volumes, Film Festivals and Imagined Communities and The Film Festival Circuit, at a special price. Working on this volume was extremely engaging and exciting. The collaborators were based all over the world, as usual, and we managed to gain insights into a little known but thriving area for film festivals.

The table of contents features:

FILM FESTIVALS AND EAST ASIA

East Asia: ‘New Localism’, ‘Full Service’ and Film Festivals
Dina Iordanova

Part I: Contexts

Asian Film Festivals, Translation, and the European Film Festival Short Circuit
Abé Mark Nornes

East Asian Film Festivals: Film Markets
Ruby Cheung

Japan 1951-1970: National Cinema as Cultural Currency
Julian Stringer

News for Whom?: Critical Coverage of the 10th Jeonju International Film Festival
Adrian Martin

Washington, Pusan, Rotterdam, Udine and Back: Programming East Asian Films for American Audiences
Tom Vick

Comrades and Citizens: Gay and Lesbian Film Festivals in China
Ragan Rhyne

Part II: Case Studies

Bulldozers, Bibles, and Very Sharp Knives: The Chinese Independent Documentary Scene
Abé Mark Nornes

Programming Southeast Asia at the Singapore International Film Festival
Felicia Chan and Dave Chua

Taipei Film Festival: Creation of a Global City
Yun-hua Chen

Tourism and the Landscape of Thai Film Festivals
Adam Knee and Kong Rithdee

North Korea’s Pyongyang International Film Festival
James Bell

Between Europe and Asia? A Chronicle of the ‘Eurasia’ International Film Festival (Kazakhstan)
Birgit Beumers

Part III: Resources

The Resources: Necessary Groundwork
Dina Iordanova

Interviews
1. ‘I believe in “film as art”’An Interview with Li Cheuk-to, Artistic Director of the Hong Kong International Film Festival (HKIFF)
Ruby Cheung
2. A Platform to the World: An Interview with Kim Ji-seok, Executive Programmer of the Pusan International Film Festival (PIFF)
Seunghee Lee
3. ‘It’s very simple. We like to give the audience the chance to see good films’ An Interview with Hayashi Kanako and Ichiyama Shozo of Tokyo FILMeX
Chris Fujiwara
4. Do Vodka and Sake Really Mix? An Interview with Natalia Shakhnazarova, Executve Director of Pacific Meridian: Vladivostok International Film Festival of Asian Pacific Countries
Alex Fischer

Tables
Location Map (Alex Fischer)
Table 1: The Asia-Pacific Film Festival (1954- ) (Sangjoon Lee)
Table 2: East Asian Festivals by Decade (Ruby Cheung and Alex Fischer)
Table 3: Festivals Featuring Significant East Asian Cinema Content (Andrew Dorman and Alex Fischer)
Table 4: Film Festivals in Mainland China (Ma Ran)
Table 5: Film Festivals in Hong Kong (Ma Ran)
Table 6: Film Festivals in Taiwan (Yun-hua Chen)
Table 7: Film Festivals in Japan (Alex Marlow-Mann)
Table 8: Film Festivals in South Korea (Yun Mi Hwang)
Table 9: Film Festivals in Singapore (Dave Chua)
Table 10: Film Festivals in Central Asia and the Asian Part of the former USSR (Birgit Beumers)
Table 11: Documentary Festivals in Asia (Abé Mark Nornes)
Table 12: GLBT Festivals in Asia (Ragan Rhyne)
Table 13: Monetary Value of Awards at Top Festivals in East Asia (Alex Fischer)

Bibliography: Film Festivals and East Asia (Alex Fischer)

What is New in Film Festivals Studies Thematic Bibliography on Film Festival Research: Update 2010
Marijke de Valck and Skadi Loist

Who is Your City? Tyler Brûlé, Part II

February 7, 2009 at 4:21 am

Here is where Tyler Brûlé comes into the picture. This is the man who essentially picks up where Richard Floridaa drops it. Brûlé is not only aware of the ‘spikiness’ of the world today and of the intense condensation of creativity in some of its select spots. Unlike Florida who forsakes his important premises and volunteers to limit his findings to the US (a place that can easily be questioned as a sole source of innovation today), Brûlé identifies the places where creativity thrives. And then he spend all his time circulating between these places and reporting on them.

No wonder, his itinerary does not go through North America very often. He much prefers touching down in Tokyo, Copenhagen, Seoul, Zurich, or Sydney. A native of far away Canadian prairies, Brûlé is a man of inexhaustible determination and commitment to propagating the lifestyle that he has discovered for himself and has made a selling point for others. He still mostly goes by the fame of having founded Wallpaper, the great design magazine that is still better known than his more recent project, Monocle.

I do not know why he has left Wallpaper and has come to develop other projects, but Brûlé is now mostly focused on projects that promote the creative lifestyle and the places that people like Florida miss out on. He tried a short-lived TV show (I believe it was on BBC TV 4) and is now mostly visible through ventures like Monocle magazine (and a recent shop in London and other locations), and his writing for the Financial Times.

Brûlé writes a weekly column for Saturday’s Lifestyle section of the Financial Times, and has been doing so for about two years now. The topics are somewhat repetitive and reading his writing week after week gives the feeling of monotony and, ultimately, boredom. But what he talks about is, in principle, exciting to me: airports, design, modern architecture, user-friendly cities, comfortable travel, nice hotels, luxury shopping, global creativity. He is often quite critical of the country (England) and the city (London) where he is primarily based. This came across particularly clearly in a column entitled Band Aid’s Won’t Save Britain (18 July 2008), a piece which I found truly enjoyable as it was summarizing precisely what people like myself and friends think of this country’s misguided self-esteem and antiquated management styles. But, I am in the minority here, as usual. Brûlé’s ‘rants’ , especially when they get to praising non-Western locations and to criticizing the metropolitan hubs of the West (as it were, untouchable by default), routinely trigger angry (and sometimes approving) reactions from readers on the letter pages of the FT, as well as in the blogosphere or other media. Like this blog post, for example, which simply invites him to shut up.

Monocle magazine is Brûlé’s main undertaking at the moment. I have been subscribing for a year now, and feel I can say a few things about it ( my 14 year-old son, who is interested in style matters, reads it with great pleasure). I will not subscribe for the next period, though, as I did not think it was value for money: you see, while the magazine costs £5 if purchased in a shop, the subscription costs you £75 for 10 issues. I was curious to see what could possibly justify the 50% increase in price when subscribing, as the only identified extra benefit was access to the web-site. And now, after having had access to the web-site for a year, I do not think it is worth it, as even though the web-site is nice, there isn’t anything much on it to make me feel I have got my money’s worth. And I do not see the point paying for the chance to watch all sorts of promotional videos for which the publishers already have been paid by the promoter. Normally, subscriptions are cheaper than purchasing a magazine in a shop. Reversing this and making the subscription more expensive than a shop purchase is certainly a cunning approach to marketing, and I would be curious to find out if it has worked, in principle. I am sure that there are people out there who would feel nice to know that they are simply taking up the chance to spend more when they could spend less. I do not belong to this group, however.

Monocle the magazine engages in diverse promotion of a cosmopolitan yappy lifestyle for those who have good taste and who know that the nicest places to be are not the ones that Florida is discussing in his book but are more likely to be found today around Osaka or Stockholm. In line with the current manga-craze, the magazine has commissioned its own series, Kita Koga, which features the adventures of a young cross-breed advernturer, Niels Watanabe, and which is executed by a Japanese cartoonist and attached to each issue of the magazine (a collector’s item, in other words). Monocle features a range of articles on global cities, from Beirouth to Reykiavik, and never limits its worldview between the East and the West Coast. What I like about the magazine is its great vision of the world as a globalized place where a variety of people (and not only Americans) exist and spend their lives, its concern with livability and its daring encouragement of truly creative and diverse lifestyle choices, its excellent advertising and style trends features, its competence in assessing important aspects of modern travel, and, in general, its relentless concern with issues of the quality of life in the modern globalized age. What I do not like about Monocle is the repetitiveness of its endless lists (it feels like crushing monotony after some time), the tiny font size used, and the subscription price.

But even though I am dropping my subscription and will probably not continue following this publications, I cannot stop admiring Brûlé’s inventive entrepreneurship and his commitment to promoting his vision of the lifestyle of the creative classes (precisely the area where Florida fails so badly). Monocle is also used as a platform for selling stuff which is of the style and quality personally approved by the man in charge. There is an on-line shop, and there is a shop in London’s Marylebone, featuring items developed in partnerships with high brow brands such as Comme des Garçons (Japan/France) or Valextra (Italy), largely reflecting the nature of Brûlé’s global trendspotting travails. You can buy a small selection of high quality items at extremely high prices: the target audience here is clearly yappies with a good style sense. (It would be interesting to see if the venture will survive beyond the current financial downturn, provided we have already seen predictions that services that rely on the same clientele, like the Bloomberg media empire, may be severely affected soon). What I find particularly interesting is this ‘interdisciplinary’ entrepreneurship of sorts, which spans media (magazine, web-site with videos, on-line shop), advertising (some of the best advertising can be seen on the pages of this magazine), events (they have branched out in some conference organizing lately), and retail.

© Dina Iordanova
7 February 2009

Ozu’s Autumn Afternoon/ Sanma no aji (1962)

May 28, 2008 at 1:47 am

Saw Ozu’s last film, Autumn Afternoon (a.k.a. The Widower), certainly not a widely available one. Like other films by Ozu, it tackles themes of radical solitude, of egotistic parents and siblings, and of family politics. (Mariko Okada stars as the daughter in law).

The scene of the daughter’s wedding day from this 1962 film reminded me of the photo of a newly wed couple that we took in 2007 at the Shinto shrine in Yoyogi park in Tokyo.

Japan may have changed, but in some respects at least it looks the same as in earlier times.

Autumn Afternoon‘s use of bright color spots (blue, yellow, red, pink) on the background of generally monochrome interiors, has been replicated in cinema in films ranging from Tati’s Playtime (1967) to Kusturica’s Black Cat, White Cat (1998).

© Dina Iordanova
28 May 2008



A Year Working Abroad

May 26, 2008 at 9:57 pm

Read Stephen Clarke’s presumably best-selling A Year in the Merde (a.k.a. Merde Actually). Yes, it must be best-selling if I have also bought it, but I was disappointed. As the book opens up with a quote from Jerome K. Jerome’s Three Men in a Boat, I was looking forward to encounter an example of sophisticated English humor. Alas, it was a far cry from the kind of hilarious writing that the English are able to offer.

A Year in the Merde was first self-published in around 200 copies and distributed among the writer’s friends. Later on, it was picked up and marketed internationally by large publishing houses. The story of its success suggests that there is great interest for the genre that tells stories of cross-cultural hick-ups at the place of work, and especially those that are structured around reporting on the anxieties of some innocuous character who is thrown to swim alone in the treacherous waters of foreign corporate milieu.

Indeed, I really really enjoy this kind of writing, maybe because it allows me to compare notes with my personal émigré experience. For the time being, my personal favorite of this genre is Amelie Nothomb’s Fear and Trembling, which is structured around a similar premise and tells of the trials and tribulations of a young French woman who spends a year in Japan working at a large corporation. Now, this one is a really gripping and darkly humorous treatise on the themes of cross-cultural prejudice and adaptation distress. Alain Corneau’s film based on the book, starring Sylvie Testud, is a real gem.

Even though a best-seller in France, the English translation of the novel has not been published in book format and at the moment appears to only be available for downloads on Amazon’s new Kindle reading device which for the time being sells solely in North America.

© Dina Iordanova
27 May 2008