讲座
Talks

讲座 01 / TALK 01

人物纪录片: 导演与传主之间
Bio Documentaries: Exploring the Relationship Between Subject and Filmmaker

主持人. 符诗专
MODERATOR. Foo Tee Tuan

主講人 SPEAKERS

  • Angie Chen
    陈安琪
    Angie Chen
    导演 Director
  • En-Chen
    陈怀恩
    En-Chen
    导演 Director
  • Lei Yuan Bin
    雷远彬
    Lei Yuan Bin
    导演 Director

一部人物纪录片要怎么拍?导演如何与传主建立起互信的关系?有了这层互信关系,导 演应该无事不可对人言还是要有所保留?人物纪录片说的完全是传主的故事?还是导演 在真实的基础上说的另一个故事?在主观与客观两个极端视角之间,导演应该站在哪 里?台湾电影《曼菲》导演陈怀恩、香港电影《水底行走的人》导演陈安琪、新加坡电 影《幻境黑白》导演雷远彬,三个地方、三位导演、三部有不同挑战的人物纪录片,他 们怎么拍?过程中碰到哪些困难?一路走来有什么心得?4月28日在新加坡拉萨尔艺术学 院且听他们怎么说。

电影节相关影片:
《幻境黑白》
《水底行走的人》
《曼菲》

How should one approach the making of a biographical documentary? What is it that a filmmaker should look out for when building trust and interacting with their subjects? Does the story entirely belong to the subject, or is there room for interpretation from the perspective of the filmmaker? These are just some of the questions to be addressed by our panel of esteemed filmmakers, each of whom have recently made a feature length bio-documentary about contemporary artists, – namely En Chen who produced a film on the late Taiwanese dancer and choreographer Lo Man-fei, Angie Chen who made an ‘interactive documentary’ with the Hong Kong multi-hyphenate artist Yank Wong, and Lei Yuanbin who took a more experimental approach in portraying our homegrown artist Tang Ling Nah. These three filmmakers with very different approaches will share their experiences and relationships concerning their respective subjects and documentaries.

Related films:
Dreaming in Black and White
I’ve Got the blues
Manfei

讲座 02 / TALK 02

原音之必要: 电影人的心底话
To Dub or to Sub: The Importance of Presenting Original Dialogue and Local Dialects in Film

主持人. 邓宝翠
MODERATOR. Eva Tang

主講人 SPEAKERS

  • Chong Keat Aun
    张吉安
    Chong Keat Aun
    导演 Director
  • Saw Teong Hin
    苏忠兴
    Saw Teong Hin
    导演 Director
  • Sung Hsin-Yin
    宋欣颖
    Sung Hsin-Yin
    导演 Director

一部电影来到他乡异地应该入乡随俗以配音来贴近当地的观众,还是该坚持原汁原味以 原音呈现。在欧洲,法国、德国、西班牙和意大利,配音是主流,而挪威、波兰、英 国、荷兰和比利时则是原音的天下。在亚洲、台湾、印尼、马来西亚倾向原音,而泰 国、日本、韩国偏好配音。在新加坡,原音是主流,唯独要求华人方言要配成华语。原 音呈现对电影人有多重要?对观众了解作品的本意又有多关键?用原音或配音有哪些商 业、文化甚至政治上的考量。且听马来西亚导演张吉安《( 义山》)、苏忠兴《( 海墘新路》) 和台湾导演宋欣颖《( 幸福路上》)怎么说。座谈会由导演本地粤语短片《柳影袈裟》的邓 宝翠担任主席。

电影节相关影片:
《义山》
《幸福路上》
《海墘新路》

Cinemas and television audiences in Singapore are used to hearing dubbed versions of film and television content, especially those from Hong Kong which are primarily in the Cantonese dialect. However, just how important are dialects or the original intended language to the storytelling, and especially to the filmmakers themselves? What are some of the commercial, cultural, and even political implications if films are to be dubbed for export to other markets such as that of mainland China and Singapore? Let’s hear from our two filmmakers from Malaysia Cheong Keat Aun (Cemetery of Courtesy) and Saw Teong Hin (You Mean The World To Me), and Sung Hsin-Yin (On Happiness Road) from Taiwan as they share their views on the subject. The session will be moderated by Eva Tang who directed the local Cantonese short film ‘The Veiled Willow’.

Related Films
Cemetery of Courtesy
On Happiness Road
You Mean the World to Me

讲座 03 / TALK 03

电影生力军:创作长片的心路历程
Young Writer-Directors: Crafting Your First Feature

主持人. David Lee
MODERATOR. 李富楠

主講人 SPEAKERS

  • Chapman To
    杜汶泽
    Chapman To
    导演 Director
  • Rita Hui
    许雅舒
    Rita Hui
    编导 Director
  • Tseng Ying-Ting
    曾英庭
    Tseng Ying-Ting
    编导 Director

导演自己创作生涯中的前几部剧情长片会遇到多少困难?难在哪里?在剧本、在制作还 是在找资金?新导演的困难和挑战在哪里?让杜汶泽、许雅舒和曾英庭三位港台电影人 告诉你。在成为导演之前,杜汶泽曾在上百部香港电影中演出。他导演的第二部作品《 空手道》(2017)获得香港金像奖六项奖项,其中包括最佳新导演。多年来以影像艺术家和 老师的身份完成了多部短片和装置艺术作品之后,许雅舒在2009年完成她的第一部剧情 长片《慢性中毒》。她的第三部作品《风景》(2017)则是一部以雨伞运动为背景,将纪录 片和剧情片紧密结合,具实验性的作品。毕业自台湾艺术大学电影学系硕士班的曾英庭 近年来的电视和短片作品在多个影展获得肯定,他的最新作品是《最后的诗句》。三位 不同背景的导演,三道不同创作的心路历程,5月5日下午与你一起走过。

《风景》
《空手道》
《最后的诗句》

The road to making a rst feature lm is never easy, whether due to the creative challenges of writing a feature length screenplay, or the logistical and commercial challenges such as fund raising and production. We have three very di erent lmmakers on this panel to share their unique experiences in crafting their early feature lms. Chapman To is a veteran comedienne and actor from Hong Kong who has starred in over 100 movies, including Infernal A airs, before making his transition to become a director in recent years. His sophomore directorial e ort The Empty Hands received six nominations including Best New Director at the 2018 Hong Kong Film Awards. Rita Hui is a video artist and teacher who has spent several years making experimental shorts and video installation works before completing her rst feature lm Dead Slowly in 2009. Her third feature Pseudo Secular is also highly experimental, combining elements of documentary and narrative drama set against the backdrop of the Umbrella Movement protests. Finally, Tseng Ying-Ting who took the path of lm school production on a higher level, and graduated with a MFA in directing at National Taiwan University of Arts, contributes his television work and short lms. These have garnered numerous accolades including the Golden Harvest Awards. The Last Verse is his feature directorial debut made as a tele-movie with funding from a Taiwan television network.

Related Films
Psuedo Secular
The Empty Hands
The Last Verse

讲座 04 / TALK 04

纪念齐柏林: 拍环保电影的初衷
Eco-Documentaries: A Tribute to Chi Po-Lin

主持人. 胡敬中
MODERATOR. Woo Keng Choong

主講人 SPEAKERS

  • Amy Tseng
    曾琼瑶
    Tseng Chiung Yao, Amy
  • Ke Chin-Yuan
    柯金源
    Ke Chin-Yuan
    导演 Director
  • 杨凯文
    Yeo Kai Wen
    导演 Director

2017年6月10日传来台湾导演齐柏林因为拍摄《看见台湾2》而直升机失事的消息。这个 消息震惊了华人世界。 2013年齐柏林以纪录片《看见台湾》让大家以够高的角度看到台 湾的美丽,却也看到大自然因为人们的开发所造成的破坏以及留下的道道疤痕。透过这 部作品,齐导演成功的以电影来推广环保意识。 2014年《看见台湾》于第二届新加坡华 语电影节做新加坡首映,四个场次在短时间内售罄。齐导演也首次出席新加坡华语电影 节与本地电影人以及观众交流,虽然谈的是电影但他念兹在兹的始终是环保。 为了纪念这位台湾朋友,2018新加坡华语电影节推出包括《看见台湾》在内的环保电影 单元,并安排一场座谈会。座谈会由新传媒中文时事组胡敬中副总裁担任主席,座谈嘉 宾有齐柏林导演的工作伙伴曾琼瑶、环保电影《海》的导演柯金源和《消失的丛林》导 演杨凯文。我们一起透过看电影、谈电影、一起来了解现今环保的问题,以这个方式向 这位以电影来推广环保意识,最终因此而奉献生命的电影人致敬。

电影节相关影片:
《看见台湾》
《海》+ 《遗失的山丘》

On 10th June 2017, we received the shocking news of Chi Po-Lin’s passing in a plane crash while filming the sequel to his Golden Horse Award winning documentary film Beyond Beauty: Taiwan From Above. Released in 2013 to wide acclaim and popularity, the film grossed more than NT220 million at Taiwan’s box office, making it the most commercially successful Chinese language documentary film ever. The impact of the film’s success raised awareness about the widespread environmental issues, and effected real changes from within the government sectors and people in Taiwan’s society. The film first premiered in Singapore at SCFF2014 to sold out screenings where Director Chi interacted with the audience at the post-screening dialogue sessions. Beyond just sharing information about the making of his film, he advocated and discussed the big and universal environmental issues that affect all of us.
As a tribute to director Chi Po-Lin, SCFF2018 has specially curated a section to screen eco-documentary films and allow this panel to convene in order to discuss the making of eco-documentaries. What inspired these documentarians to take on their various subject matter and what are some of the challenges they face? The panel features Amy Tseng, close collaborator of Director Chi and producer of Beyond Beauty: Taiwan From Above, Ke Chin-Yuan director of marine documentary Ocean, and Yeo Kai Wen who made the short documentary The Disappearing Hills when he was an undergraduate student. This session will be moderated by local veteran producer Woo Keng Choong, who is also the Vice-President of Mediacorp Chinese Current Affairs Unit. We welcome you to join this panel of experts, friends, and individuals who are deeply inspired by the legacy of his work, as we pay tribute to the one and only Chi Po-Lin.

Related Films:
Beyond Beauty: Taiwan From Above
Ocean + The Disappearing Hills