1
10
3
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Film Introduction: A Song of Ceylon by Dr Marc Glöde
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/487137932">https://vimeo.com/487137932</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
487137932
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Film Introduction: A Song of Ceylon by Dr Marc Glöde
Description
An account of the resource
A Song of Ceylon, Laleen Jayamanne, 1985 16mm film, colour, sound, 51 min Rating: PG13 (This film contains mature content and some nudity) <br /><br />This film is an intense study of the body, gender and the multiple aspects of colonialism. It addresses theatrical conventions by recreating classic film stills and presenting the body in striking tableaux. A remarkable film on which Trinh T Minh-Ha, in Discourse (1989), commented: “The anthropological text is performed both like a musical score and a theatrical ritual….The film engages the viewer in the cinematic body as spectacle…”. <br /><br />Laleen Jayamanne (Sri Lanka/Australia) is a filmmaker and Professor of Cinema Studies at the Power Department of Fine Arts at the University of Sydney, Australia.
Contributor
An entity responsible for making contributions to the resource
Laleen Jayamanne
Marc Glöde
Marc Glode
Subject
The topic of the resource
Body
Feminism
Postcolonialism
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Date
A point or period of time associated with an event in the lifecycle of the resource
2020-12-11
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Online film programme of Trinh T. Minh-ha. Films exhibition, co-curated by Dr Marc Glöde and Dr Ella Raidel.
Exhibition Mode
Curated Film Programme
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Exhibition Start Date
1 November 2020
Exhibition End Date
28 February 2021
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Trinh T. Minh-ha. Films. Online Film Programme: Speaking / Thinking Nearby
Description
An account of the resource
<p>Trinh T. Minh-ha’s approach to film has addressed a wide field of discussions—reaching from the ethics of representation in ethnographic film, to aspects of migration, debates on global socio-political developments, and different layers of feminist discourse. Her films are investigations into the question of the voice as well as the relationship between the visible and audible. This programme will present a selection of films that echo some of these discussions negotiated by Trinh in her filmic works as well as her writings, and create a dialogue with other filmmakers and scholars.</p>
<p>Co-curated by<span> </span><strong>Dr Marc Glöde</strong>, Assistant Professor, NTU ADM, and<span> </span><strong>Dr<span> </span></strong><strong>Ella Raidel</strong>, Assistant Professor, NTU ADM and WKWSCI.<br /><br /></p>
<p><strong>1 – 14 November 2020<br /></strong><strong><em>the time is now. (I+II)</em></strong><strong>, Heidrun Holzfeind, 2019<br /></strong>Colour, sound, 48 min<br />Rating: PG</p>
<p>Holzfeind is interested in architectural and social utopias that create an alternative living. She documents the shamanistic rituals of the Japanese improvisation/noise duo IRO, Toshio and Shizuko Orimo, in what they call “Punk Kagura”—in reference to Kagura, a ritual dance tradition and music for the gods. Holzfeind uses a visual language that adapts their mystical rituals: breaks in image; the colour and narrative corresponding with the soundscape; the modernist architecture of Takamasa Yosizaka; and the surrounding nature in which the duo performs a choreography for healing our damaged planet. The urgency is underlined in the title<span> </span><em>the time is now</em>.<br /><br /></p>
<p><strong>15 – 28 November 2020<br /></strong><strong><em>Heaven’s Crossroad</em></strong><strong>, Kimi Takesue, 2002<br /></strong>Video, colour, sound, 35 min<br />Rating: G</p>
<p>What does it mean to “look” cross-culturally? This film follows up on this question by creating a visual journey through Vietnam. Instead of following the established patterns of the classic documentary, Takesue creates an experimental experience that challenges the audience and invites us to reflect on what it means to “truly see another culture”. Within this beautiful visual travelogue, questions of desire, projection, and communication begin to appear, that are embedded in this idea of the cross-cultural encounter.<br /><br /></p>
<p><strong>29 November – 10 December 2020<br /></strong><strong><em>Naked Spaces—Living is Round</em></strong><strong>,<span> </span></strong><strong>Trinh T. Minh-ha,</strong><strong><span> </span>1985<br /></strong>16mm transferred to digital file, colour, sound, 135 min<br />Rating: PG13 (<span class="TextRun SCXW256177418 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW256177418 BCX9">This film contains some nudity)</span></span></p>
<p>Six West African countries (Mauritania, Mali, Burkina Faso, Togo, Benin and Senegal) stand in the centre of this film. The work explores the life in the rural environments of these countries by taking a closer look at the everyday. With its nonlinear structure, the film steps away from the classical traditions of the documentary/ethnography tradition and offers a sensuous approach. It is a poetic journey to the African continent in which the interaction of the encountered people or the spaces in which they are living becomes relevant.<br /><br /></p>
<p><strong>11 – 24 December 2020<br /></strong><strong><em>A Song of Ceylon</em></strong><strong>, Laleen Jayamanne, 1985<br /></strong>16mm film, colour, sound, 51 min<br />Rating: PG13 (<span class="TextRun SCXW112179085 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW112179085 BCX9">This film contains mature content and some nudity)</span></span></p>
<p>This film is an intense study of the body, gender and the multiple aspects of colonialism. It addresses theatrical conventions by recreating classic film stills and presenting the body in striking tableaux. A remarkable film on which Trinh T Minh-Ha, in<span> </span><em>Discourse</em><span> </span>(1989), commented: “The anthropological text is performed both like a musical score and a theatrical ritual….The film engages the viewer in the cinematic body as spectacle…”.<br /><br /></p>
<p><strong>25 December 2020 – 5 January 2021<br /></strong><strong><em>Surname Viet Given Name Nam</em></strong><strong>, Trinh T. Minh-ha, 1989<br /></strong>16mm film transferred to digital, colour, sound, 108 min<br />Rating: PG13 (<span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">This film contains s</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">ome </span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">d</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">isturbing </span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">s</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">cenes</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9"> from the archival footage of the Vietnam War</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">)</span></span></p>
<p>This film is Trinh’s complex deep dive into the difficulties of translation, as well as themes of exile or dislocation. By using historic material, dance, printed texts, folk poetry and combining it with anecdotal narratives, she examines the status of Vietnamese women since the Vietnam War, as well as the status of images as evidence. It is a complex approach that invites the audience to reflect on the modes of perception and encourages a profound critique of audio-visual strategies.<br /><br /></p>
<p><strong>6 – 19 January 2021<br /></strong><strong><em>Nervous Translation</em></strong><strong>, Shireen Seno, 2018<br /></strong>Colour, sound, 90 min<br />Rating: PG</p>
<p>This film follows the inner voice and play of an eight-year-old girl who cooks perfect miniature dishes, mimicking the world of adults. The perception of the child is translated through fragmentation and sounds that are written into words, such as the ring of the telephone, and the sound of the aircon, all forming together, an orchestra of the everyday. Waiting, boredom, and dead time pave the temporality of her imagination, while she is listening to cassette tapes recorded by her father, a migrant worker in Saudi Arabia. The personal phantasmagoric vision encounters the political dimension echoing the times of the People Power Revolution in the Philippines.<br /><br /></p>
<p><strong>20 – 31 January 2021<br /></strong><strong><em>Reassemblage</em></strong><strong>, Trinh T. Minh-ha, 1982<br /></strong><span lang="en-us">16mm film transferred to digital, colour</span><span lang="en-us">, sound, 40 min<br />Rating: PG13 (<span class="TextRun SCXW256177418 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW256177418 BCX9">This film contains some nudity</span></span><span class="TextRun SCXW262228809 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW262228809 BCX9">)</span></span><br /></span></p>
<p>With her remarkable and widely discussed first film, Trinh brings the conventions of the documentary to our attention and asks how films in the field of documentary and ethnographic tradition have consecutively established a power to manipulate the way in which we perceive different cultures. By gathering filmic means and techniques that reject the traditional narrative forms, Trinh constantly alerts us to our own process of perception, furthermore reminding us that watching a movie is not a passive, but an active process.<br /><br /></p>
<p><strong>1 – 14 February 2021<br /></strong><strong><em>The Human Pyramid</em></strong><strong>, Jean Rouch, 1961<br /></strong>DCP, colour, sound, 93 min<br /><span lang="en-us">Rating: NC16 (<span class="TextRun SCXW8554943 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW8554943 BCX9">This film contains mature content)</span></span></span></p>
<p>At the Lycée Français of Abidjan, Ivory Coast, Rouch worked with students there who willingly enacted a story about the arrival of a new white girl, Nadine, and her effect on the interactions of and interracial relationships between the white colonial French and Black African classmates, all non-actors. Fomenting a dramatic situation instead of repeating one, Rouch extended the experiments he had undertaken in <em>Chronicle of a Summer</em>, including having on-camera student participants view rushes of the film midway through the story. The docu-drama shows how working together to make the film changes their attitude towards each other.—Icarus Film<br /><br /></p>
<p><strong>15 – 28 February 2021<br /></strong><strong><em>95 and 6 to Go,</em></strong><strong><span> </span>Kimi Takesue, 2016<br /></strong>Digital, colour, sound, 85 min<br />Rating: G</p>
<p>While visiting her grandfather, a recent widower in his 90s in Hawai’i, Takesue begins to follow his everyday routines. When he shows interest in his granddaughter’s stalled romantic screenplay, an interesting discussion about her work, family, memories, and identity unfolds. Shot over six years, this film shows how personal aspects intertwine with a critical reflection of the documentary genre.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
1 November 2020 – 28 February 2021
Contributor
An entity responsible for making contributions to the resource
Marc Glöde
Marc Glode
Ella Raidel
Heidrun Holzfeind
Kimi Takesue
Trinh T. Minh-ha
Laleen Jayamanne
Shireen Seno
Jean Rouch
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Africa
North America
Subject
The topic of the resource
Feminism
Geopolitics
Ritual
Cultural Heritage
Body
Displacement
Race
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Laleen
Surname or Business Name
Jayamanne
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2020-2021
Birthplace
Sri Lanka
Occupation
Professional title or identity
Filmmaker
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
Laleen Jayamanne is a filmmaker and Professor of Cinema Studies at the Power Department of Fine Arts at the University of Sydney, Australia.
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Australia
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Filmmaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Laleen Jayamanne
Subject
The topic of the resource
Politics
History
Identity
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Oceania
Contributor
An entity responsible for making contributions to the resource
Laleen Jayamanne