Reseach for my asian film history project. for the singapore cinema in the 50s-60s


Air Hostess 1958, in it shows NTU! when south spine and hall 4 and 5 was just patches of grass.



east coast studio



the right pic reminds me of joanne..hahaaa..its the opening scene of the blockbuster hit Mambo girl,1957.

Lion City, 1960. first true blue singaporean film.

Merdeka Bridge. in dialect i think

the fix set of actors we often see then

no break.

feeds for today.








Private World by Shimoda Masakatsu
Born in 1967. An up and coming artist who spends his life travelling aroud the world and draws portraits of people he meets. He has published a book "Private World".


















Book-cut scupltures by Su Blackwell

going back in time

i was just doing reserch for my asian film history presentation and just happen to look at these classics from the 1950s. Actors and actresses some of which have died, some still alive. but this moment when we are looking at their film. they are still very alive. for strangers it is the only memory of them alive. many of the classics have been lost due to mishandling of film materials. but those that are preserved till now, it is really a valuable documentatry which records life during then. amazing.

singapore production made in hong kong.





葛蘭 - 我愛恰恰 電影《曼波女郎》[GeLan / Grace Chang] Mambo Girl




Sun, Moon and Star (1961)




林鳳 ~ 獨立橋之戀 1958





陳寶珠 娘惹之戀 片段1/2 (新白金龍) 1968



陳寶珠 娘惹之戀 片段2/2 (相親) 1968




1959年林鳳主演的邵氏電影《榴槤飄香》插曲，充滿亞熱帶風情 （附字幕）。

Film: "The Mirror"

TIME will tell...
Best sequence shot ever -


by Tarkovsky

Research

Movie
High Fidelity
Year 2000

"What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?"

Research

Sacha and Mum

Of mother daugther relationship- A push becomes a hug when the video is reversed.

Sacha and Mum, 1996.

Single-channel video projection, approx. 00:04:30,

Dimensions Variable. Solomon R. Guggenheim Museum, Purchased with funds contributed by the International Director's Council and Executive Committee Members: Eli Broad, Elaine Terner Cooper, Ronnie Heyman, J. Tomilson Hill, Dakis Joannou, Barbara Lane, Robert Mnuchin, Peter Norton, Thomas Walther, Ginny Wi. 97.4571. © Gillian Wearing.

Gillian Wearing has regularly explored the boundary between the public and the private in her video and photographic work. Influenced by the British documentary filmmaking tradition, Wearing has frequently used real-life individuals as her subjects. For the series that first brought her notice, Signs that say what you want to say and not signs that say what someone else wants you to say (1992–1993), she photographed strangers on the street holding handwritten placards that advertised their thoughts, feelings, and anxieties. In subsequent video works, she documented the intimate confessions of people who masked their identities through various means: in 10-16 (1997), adult actors lip-synch the prerecorded secrets of adolescents; in Trauma (2000), adults wearing plastic masks with generic children's faces divulge traumatic experiences from their youths. Wearing has also examined the private sphere of the family. In her video Sacha and Mum (1996), she directed actors and manipulated the editing process to create a film that explores the complex, contradictory nature of a mother-daughter relationship. Sacha and her mother share an intimate moment as they smile and hug in a bedroom, yet their embrace slowly shifts into a tussle. As love and aggression blur, the mother begins to tug, pull, and otherwise physically dominate her daughter. Sacha's odd vulnerability and her mother's aggressive volatility are underscored by the speeded up video, which quickens their gestures, and the distored sound track that transforms their speech into anxious gibberish. By the film's end, it is unclear whether Sacha is a disturbed person whose mother is trying to calm her, or if the mother is a disturbed aggressor from whom Sacha is trying to free herself.

Research

Frustrated Expression

60 Minutes Silence

Gillian Wearing

Turner Prize winner 1997

Unlike those she beat to claim this year's Turner Prize, Gillian Wearing is more interested in live people than dead ones or dead matter. She says that her some of her main formative influences were the 1970s fly-on-the-wall documentaries such as The Family and much of her work uses video and photographs to focus on the conflict between established behaviour and what people do on impulse. Wearing uses real people, usually from where she lives in south east London, to create her art. One such example is 60 Minutes Silence, which at first sight is a lifesize photo of 26 police officers. Eventually, the viewer realises that the work is a video - the officers are trying to remain still and quiet for the full hour but the strain gradually builds and they shuffle and flex. The Daily Telegraph's Richard Dorment describes how one officer succeeded in remaining near-motionless the whole time until told that time was up. He then "lets out a yelp of relief that you can hear all over the gallery. The moment is like a dam bursting. His final, cathartic, joyful cry is one of the great moments in the history of recent British art." Confess all on video...Those officers were all volunteers, as were the people Wearing recruited in 1994 after placing an advert in a magazine's personal column. The advert, which became the title of the work, ran "Confess all on video. Don't worry you'll be in disguise. Intrigued? Call Gillian ... "
As it says, Wearing covered her 10 volunteers in wigs and masks and recorded their tales of theft, revenge, betrayal and sexual perversion.

The Turner Prize winnerBut Wearing is not out to exploit people for the sake of it. Dancing In Peckham, for example, was based on having seen a woman dancing wildly at a concert completely unaware that people were making fun of her. "Asking her to be in one of my videos would have been patronising," Wearing said, "So I decided to do it myself." The artist therefore danced to the music of Nirvana and Gloria Gaynor - music which was heard only in her head - for half an hour in a Peckham shopping centre while the ordinary British public walked past, un-noticing or ignoring. The BBC gratefully acknowledges the assistance of the Tate Gallery in producing this page - in particular the use of material from its book, The Turner Prize, by Kate Button.

Research

Sam Taylor-wood

Research

Issey Miyake

- Animated video as part of the newly launched site for Japanese fashion genius Issey Miyake -

by : Masahiko Sato