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Well, here we are now - the festival is already behind our backs. I don't remember the last time five days went by so quickly. I feel I couldn't have possibly endured more days of pressure, deadlines and lack of sleep, but I did want to stay. And I really wanted to work this way all my life (perhaps living a little closer and having something real to eat for dinner).
Looking back on it now I realise most of my expectations were wrong and thus most of my anxiety was unnecessary. But it was a wonderful experience and I am sure no one would've offered us the opportunity to speak to all of those directors, stars and fellow journalists in our first year, if it weren't for the society and the work that Spencer had done. It was an amazing chance for a person like me, interested in film journalism, not only to experience a totally different culture and to sit through hours and hours of East Asian film, allowing me to be able to find their similarities and where they differ, but also to observe how a festival like that works, how other journalists and media operate and to get a feeling of normalcy - after all, this is not something to be freaking out about.
The work was tough, indeed. It took me about 5-6 days to catch up on my sleep and to normalise my body not to wake me up at 7 in the morning by instinct. It was a relief not to think about deadlines and schedules and just to enjoy the wonderful silence sitting by the water near the hostel in Venice. But a part of me misses all the craziness and pressure - I love working like that, having no free time for my mind to wander aimlessly, not thinking about food or energy, not obsessing over money or travel or other things in my life that usually disturb me. No wonder after five stressful days travelling alone around Italy was so peaceful and, surprisingly, not worrying (it was the first trip where I just didn't worry about anything) - my body just couldn't produce anymore stress hormones and adrenaline. :)
I adore watching film and writing about film and I would do it over and over again. Although it was difficult to combine seeing as many films as possible and writing about them within the time limit (and a part of me just wanted to stay out and enjoy the sunlight), it was the most pleasurable type of writing I have done so far in my journalism course. And perhaps if I didn't have problems getting to a free computer, I would've done a little better, having had enough time to write and re-read and have everything perfect. But I am pleased with my work and I am glad that it has been posted on Cine-Vue, as well, and I am happy Spencer was happy with our performance overall - so all I have to say is a big bravo to the whole CUEAFS team and hope somehow we can make it to next year's festival, as well.
Hats off to the documentary team, too - from what I've seen, their work was very professional and they were able to catch on film some of the big fish on the festival. I hope all of us didn't come off looking like idiots, as most of the time we were so tired we had no idea what was going on. But I can't wait to see the promotional video and I am sure that whatever way they edit it, it will be a damn impressive piece of footage that will probably get a lot of new members into the society and get our 'organisation' running more and more professionally.
Now, with so much time on my hands, I am glad I still have material to write about from our Udine coverage, as we couldn't possibly cover everything at the spot, and I try to place myself back in the atmosphere and get the right vibe in order to sound the same way, when writing.
As to the films, I was able to catch nine of them (I couldn't possibly sit through Bodyguards and Assassins for the second time and I missed the international premiere of The Arrival, because I couldn't enter the theatre), which was pretty much what I was aiming at. Since I was covering South Korea, the Philippines and Indonesia, the films from those regions were my priority, but I was able to see also films from China, Hong Kong, Taiwan and Thailand, which helped me broaden my horizon and build a bigger picture of East Asian film in my head. Here is what I attended on the festival:
The Message (2009) by Chen Kuofu and Gao Qunshu (China)
Gallants (2010) by Clement Cheng and Derek Kwok (Hong Kong)
Seven 2 One (2009) by Danny Pang (Hong Kong)
Possessed (2009) by Lee Yong-ju (South Korea)
Slice (2009) by Kongkiat Khomsiri (Thailand) 
Running Turtle (2009) by Lee Yeon-woo (South Korea) Secret Reunion (2010) by Jang Hun (South Korea)
Hear Me (2009) by Cheng Fen-Fen (Taiwan)
Identity (2009) by Aria Kusumadewa (Indonesia)
 For short overviews of all the films seen by members of CUEAFS and movie reviews visit CUEAFS's webpage or our partners' website.
Compared to my original schedule, I haven't attended two films (The Arrival and The Legend is Alive - the first I couldn't enter, the second was overlapping with the interview of Lee Yong-ju, director of Possessed). On my first schedule I had also the South Korean and South-East cinema panels. However, since we arrived quite late on April 27, I couldn't catch the first, and I missed the second because I had too much material to write before 7pm (the deadline) and I wasn't ready by six. Ellie and Nadia covered the panels, though, and recorded everything, so keep your eyes peeled for podcasts on CUEAFS's website.
Other highlights from the festival, as I look back on it now, were the three interviews, conducted by Spencer Murphy - the first one with the directors of Gallants Clement Cheng and Derek Kwok, the second with Lee Yong-ju, director of Possessed and the third with La Comedie Humaine's producer and main star Mr Chapman To. The interviews might be found on CUEAFS's website and the website of our partners Cine-Vue and they will be coming soon as podcast and video.
Overall, an invaluable experience for everyone involved, whether interested in media production, journalism or film, whether Asian in culture or European (Eastern or Western), whether involved in the documentary or the writers team - it is absolutely marvelous to receive such an opportunity to visit an actual international film festival and to be introduced and speak to stars, producers and directors; to witness interviews and press meetings and to be given the chance to produce material for an international film platform, which is the website of our partners Cine-Vue. To me, personally, as a journalist interested in film, involved in an East Asian film society and an absolute admirer of Italy and everything related to it - I had the time of my life. With no sleep, hardly any food at all (except the breakfast and dinner panettone, which I am so sick of by now) and constant work and pressure, I felt like an absolute professional at work and will gladly do it all over again (perhaps pack some food in my checked bag).
And, finally, I would like to extend my greatest gratitude and compliments to everyone - mainly to Mr Spencer Murphy, who made that whole trip possible, but also to all members who went to Udine and did a spectacular job: Michelle Bailey, Nadia Baird, Andreea Dascalu, Ruodong He, Michael Jarvis, Stanley Lau, Elena Rapondzhieva and Kevin Weng - well done to everyone (including compliments to myself, of course), it was an absolute pleasure to work with all of you and I am looking forward to more professional opportunities with everyone from the society (including the members who couldn't come with us).
*Images from:
http://en.cnci.gov.cn/PicLib/200910816718394.jpg
http://www.lovehkfilm.com/reviews_2/ab5734/gallants_a.jpg
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKULLUZQ6_Mh4oMhkLrW9Nh9kW-UyL3gueLO1e2xot41Es9aoMMNiw7rOqx8f0memkb7EHhZc_nd5fO-CyKrX20O56ksRYwmiybmHY4iLPNuZWE2d12Uk_REVu2CuRwWl3_FF4522_yTaV/s320/seven2one.jpg
http://lolyfe.com/wp-content/uploads/2010/02/Possessed-209x300.jpg
http://www.enjoythaimovies.com/media/blogs/thaimovies/slice.jpg
http://www.flixunlimited.com/wp-content/uploads/Running_Turtle.jpg
http://www.watchtopmovies.com/wp-content/uploads/2010/02/TheSecretReunion.jpg
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaXbGYaYgqgbs1hT_jPFgvO_RN7lBrWLVpsD_gtX5WIJvCyU8pT-l2uwYT9ATR0loT3C8EDwKHJasAx-_wH2jZSmu8qYy2fY4CMNdS7bFV3R82TkQUDWatHawt_1oahNnM_b1v6VpaNLL4/s400/hear_me_02.png
http://1.bp.blogspot.com/_QBXSKg1fEAg/S05HPfmf3GI/AAAAAAAABcQ/YPDcd5gReho/s320/identitas.jpgLabels: cine-vue, clement cheng, cueafs, derek kwok, east asian film, far east film, feff, festival, gallants, interview, italy, lee yong-ju, panel, possessed, screening, udine |
created by: anty
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Knowing that this was our last productive day in Udine, since the next day was only taken up by travelling, we wanted to do as much as possible, despite having been sleep and food deprived for four days straight and hardly having any strength to stay awake. But with the society's best interest in mind, we pulled through.
The day started for some of us with the Taiwan film Hear Me (2009), which was a romantic story about two deaf sisters and their struggles with life. For the others, the day started with the hilarious Chapman To, who was being interviewed in the press area by journalists and our own Spencer Murphy.
The dedicated members of the journalistic team started writing their reviews/interviews, while I went to see Identitas (2009) from Indonesia - a dark story depicting the life of millions of poor Indonesians that have no identity, no voice, no rights. By that time I was absolutely wrecked and was even caught on camera saying I was at the edge of my physical powers, I was off to write again. Nadia was still writing about the Hong Kong cinema panel, which featured Gallants' directors Clement Cheng and Derek Kwok, as well as La Comedie Humaine's producer and star Chapman To, whilst Ellie was transcripting Spencer's interview with Mr.To; Henry was writing his Secret Reunion review and I, on the other hand, wrote about Identitas and an overview of the films we had seen that day and the previous evening.
The whole team headed off to see Teddy Chen's Bodyguards and Assassins (2009) from Hong Kong, but I couldn't bear sitting through anymore films, let alone a film of 2 and a half hours, which I had previously seen. So I decided to take some rest and get my brain working again. The Japanese Boys on the Run (2010) was the last film to be seen by a member of CUEAFS, Nadia, while the rest of us were enjoying some quiet time outside, drinking beer and discussing the whole experience. The evening ended quite early, compared to the previous nights, as most of us were absolutely dead, but some of the other members kept the vibe going till the morning.
For Chapman To's interview and reviews of the seen films, go to CUEAFS's website and the website of our partners Cine-Vue.Labels: bodyguards, chapman to, cine-vue, cueafs, east asian film, far east film, feff, festival, identity, interview, italy, screening, teddy chen, udine |
created by: anty
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Day 3 of CUEAFS's stay in Udine began with a lot of excitement and anticipation. After having our regular morning breakfast meeting with everyone (although some of us didn't really have to get up quite that early, after having gone to bed at about half past four), the documentary team, together with Andreea and myself headed down to the theatre to film and record Spencer interviewing Lee Yong-ju from South Korea, director of Possessed. While we were waiting for the press area to be opened, some of the other members came back from the screening of Echoes of the Rainbow (2010) by Alex Lau - a Hong Kong melodrama about the adventures of two brothers, seen through the naive and innocent eyes of a child. We formed a small circle and had a short meeting, discussing our plans for the day and also the impressions of the screened film. I was getting quite nervous about the interview, although I wasn't the one asking the questions, just taking notes and recording audio. But the pressure was somewhat getting to me. All this disappeared, though, once we entered the press area, which was filled with a calm vibe and the atmosphere was totally friendly and somewhat informal. After having sat through the Italian interviews (which had some good points, but mainly not too relevant questions), it was Spencer's turn to impress Lee Yong-ju with his knowledge of East Asian (and not only) cinema. They talked about the genre and the style of the film, the ideology behind some of the character choices, future plans, etc. The funny thing was that Lee's interpreter didn't speak English and the interview was about to be very long, translated from English to Italian to Korean and then from Korean to Italian to English, but we were fortunate enough to find a woman who spoke Korean and English and she was nice enough to offer her assistance in the matter. After our interview we waited around for a while longer to get a picture of the team with Lee Yong-ju and then we spreaded out, attending to our individual schedules. I went to see a Korean police thriller by Lee Yeon-woo - Running Turtle (2009), telling the story of an unfortunate cop with a gambling problem, who steals money from his wife to bet on a bull fight. He does surprisingly win a great deal of money only to be robbed by a wanted criminal, who moved back into town, and becomes obsessed with catching the runaway and taking back his belongings. The film was light-hearted and funny and although it ran slowly and there wasn't anything too exciting about the plot or the development of the story, it wasn't at all boring, but rather engaging and simply entertaining. After having seen the film, I set off to write reviews and a summary of the interview with Lee Yong-ju, whilst the other writers were doing their due writing and the documentary team were set up filming outside, catching people from the press on camera, as well as directors of Gallants Clement Cheng and Derek Kwok, saying 'Coventry Rocks' and La Comedie Humaine's producer and actor Chapman To. Some members attended the Hong Kong cinema panel later on, featuring the three celebrities. Afterwards, some of CUEAFS's members went to see La Comedie Humaine (2010) by Chan Hing-kai and Janet Chun, where Chapman To preceded the film with a short speech. As I was heading off to see The Arrrival (2010) from Philippine director Erik Matti with Andreea, we both got some food and entered the theatre only to find there were no seats available on the second floor and once we left, we weren't let back in. So we decided to accept the circumstances and go to dinner with the rest of the group. We ended up in a nearby Italian pizzeria and after dinner headed back to see Secret Reunion (2010) by Jang Hun (South Korea). Most of the members were quite tired after another hard day and couldn't help but fall asleep at certain moments, as I myself skipped some five minutes of the action, even though the film was really interesting and kept me watching. The story was quite similar to the story of Running Turtle - an unfortunate cop fails to catch a criminal, who he encounters some six years after and, while both believe the other one hasn't recognised them, they start working together as spies. The story here goes a lot deeper than the thriller/action motion and tells a touching tale of family bond and unexpected male friendship. As the day was over, we were desperate to get to the hostel and sleep, although we were sure none of that would happen before 3-4 am in the morning. We are starting to get a little sad already, as tomorrow will be our last day in Udine (as we have to leave early on Saturday), and we don't want to leave. But we are determined to work even harder during our last day and produce as much material as possible for our web platforms. For the interview with director Lee Yong-ju and reviews of the films, as well as an article on the Hong Kong cinema panel, visit CUEAFS's website and the website of our partners Cine-Vue. Labels: chapman to, cine-vue, clement cheng, cueafs, derek kwok, east asian film, erik matti, far east film, feff, festival, hong kong, italy, lee yong-ju, possessed, south korea, udine |
created by: anty
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An incredible start to another incredible day. A few members of the writers team headed off early in the morning, after only about four hours of sleep, to attend the screening of yet another Hong Kong film, Seven 2 One (2009). The drama by Danny Pang was a 'patchwork' storyline, presenting the stories of seven different people, tied up together, and their actions that lead to a particular event. The ending of the film was quite brilliant, showing a 'what if' perspective - if a phone call was received earlier, if an agreement had been made, if a girl had changed her mind, then maybe things would've unraveled in a different way.
Afterwards followed a Chinese police thriller by director Wang Jing - Invisible Killer (2009), which gave insight into contemporary Chinese society and the subtle influence of the internet and prompted a big discussion between the two Chinese members of the writers team - Henry and Kevin about the ideology behind the two films from China over those two days - The Message and Invisible Killer. As the argument grew more and more passionate and the volume level grew in decibels, we attracted not only a few cameramen, who caught everything on video, but also quite a big audience, which was interested in what was going on and who were the people arguing so ardently.
As the day had just begun, all of us had planned a complicated working day, running from one place to another, trying to get as much as possible done before the sun goes down and then later perhaps we might have been able to get some sleep. Good thing we are in Italy and enjoying some decent coffee and nice food in the short breaks we get to keep us running (I am glad they have a bar in the theatre, as we don't really have the chance to go too far). :)
The documentary team had been working since the morning, as well, getting some establishing shots of Udine, Teatro Nuovo Giovanni da Udine, the busy teams and anything else they can get their hands on. Writers were busy writing before we had forgotten our first impressions and important information about the films after seeing too many. Another busy day, indeed. On the schedule are also experimental filming and interviewing fellow students from other universities, so we had hopes everything would turn out pretty nicely.
The afternoon of our second day in Udine was also packed and stressful, including three films, a panel and a lot of writing. Nadia attended the screening of Phobia 2 (2009), a sequel to the very successful 2008 film 4bia, a Thai horror composed of five different stories. After that some of the members saw Lee Yong-ju's debut Possessed (2009), which totally creeped out everyone, especially poor Henry, who was watching through the holes in his paper sheet, which he held in front of his face for the most part. The last film on our schedule was Slice (2009) by director Kongkiat Khomsiri, by which time it was a struggle to stay awake and some of the membes made good use of the comfortable chairs and the fact that we couldn't see most of the screen from our seats.
The day also presented the opportunity for Spencer to interview the directors of Gallants Clement Cheng and Derek Kwok and the Shintoho panel presented a good opportunity for Michelle to get more information for her dissertation.
Overall, it was a stressful day, especially trying to get all the writing done before 7pm, whilst queueing to get good seats for the following screenings. With very few hours of sleep and almost no food in our stomachs, we are basically living on coffee and cigarrettes (myself, specifically), but we are excited to get to the next day and do more work.
For a short overview of the films during our second day (day 6 of the festival), visit CUEAFS's website and the website of our partner Cine-Vue.Labels: china, cine-vue, cueafs, danny pang, east asian film, far east film, feff, festival, hong kong, invisible killer, italy, lee yong-ju, phobia 2, possessed, seven to one, slice, udine, wang jing |
created by: anty
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| After what seemed to be the longest journey in the world, involving a minibus ride, a flight and another bus, we finally got to sunny Italy, welcoming us with open arms and filling us with anticipation and overwhelming anxiety, as well as tremendous excitement. We quickly found our way around and checked-in, rushing to get some writing done and get ourselves on the road for the following days, and we were off exploring the unknowns of the festival.
We picked up our media passes and got into the first screening, excited to see the beginning of what we are about to endure for the next four days. The first film we saw was The Message (2009) - a Chinese spy thriller in its European premiere in the spirit of Agatha Christie, which filled the group with a lot of excitement and optimism as to the selection of films they have prepared for us this week. The soundtrack was absolutely amazing, which was adding to the spectacular cinematography and the complicated and yet interesting story was only a bonus to all that to make the experience invaluable.
Then, having been sat in the theatre for more than two hours, we quickly regrouped to see the other film they had on schedule, Gallants (2010) from Hong Kong, which was preceded by a lovely speech by the two directors, Clement Cheng and Derek Kwok. The tone and mood we had submerged into during The Message was shifted to 100 degrees - a long way to go from a spy thriller into a martial arts comedy with dramatic moments, made in the spirit of traditional Kung-Fu Hong Kong cinema.
Throughout all that excitement and anxiety, the documentary team was busy filming everything and anything, trying to get opinions and events on camera, and we were even interviewed by an Italian radio station...
The only drawback was the lack of time for food and the group ended up eating the breakfast panettone for dinner, as well. Our emotions took very long to cool down, as we sat together in the living room chatting up until about half past three in the morning.
Overall, a very nice way to start our professional experience here, taking care of a lot of the stress and the anticipation, once we don't need to worry about finding hotels or theatres and making our way around Udine. Tomorrow we will start from seven in the morning with a group meeting, then attend some screenings, a panel on the Japanese production company Shintoho and try to write about everything and put it on our on-line platforms, whilst the documentary team is following us around. :) A busy day, indeed, and I couldn't be more excited about it. For a short overview of the two films we attended and reviews of the two films , visit the websites of CUEAFS and our partners Cine-Vue at: Overview of festival days 5 and 6 (first and second day of the society in Udine)The same overview on CUEAFS's blog space, translated in Chinese by Kevin WengReview of The Message (by me) Review of Gallants (by Nadia Baird)Same review of Gallants on CUEAFS's blog spaceLabels: china, cine-vue, clement cheng, cueafs, derek kwok, east asian film, far east film, feff, festival, gallants, hong kong, italy, teatro nuovo giovanni da udine, the message |
created by: anty
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Tomorrow, April 27, some of CUEAFS's members will be leaving for Italy to cover the Udine Far East Film Festival in its 12th edition. Feelings and thoughts are rushing around, bags are packed, pre-production has been done, anxiety and excitement absorb any other emotion - this is basically the situation before departure.
The nine members going have been assigned important responsibilities and we will try to be as professional as possible and to present the society in the best way possible, while producing some good work and getting some experience for ourselves. If at the end of the week we are pleased with what we have done and Spencer is happy, we will be coming home triumphant. At this point plans are still quite unclear, as we don't know what to expect. Schedules are ready, but last minute changes are probable. I am feeling 98% excited and 2% scared or... to think about it, it might be the other way around...
We have been divided into two groups - a 'writers' team (Nadia, Ellie, Henry and myself), that will be taking care of writing reviews and articles, as well as possible interviews and press panel reflections for CUEAFS's website and, more importantly, for the website of our partner Cine-Vue, along with our own personal reflective writing that will be a window to our feelings, expectations, disappointments, etc. The 'documentary' team (Michelle, Mike and Stan) will be filming our journey in order to produce a promotional video for the society, portraying our experience during the festival. Kevin has been assigned the position of 'coordinator of the writers team', which means that he will be making sure everyone is kept up-to-date, if they cannot attend meetings, and in addition he will be translating all of our produced material into Chinese. Andreea will have her hands full, as she will be our main photographer, admin of the CUEAFS's website and Spencer's personal assistant.
As the roles and responsibilities are clear and both teams have been meeting regularly to discuss any small details that might become an issue, everyone is more or less ready to head off to Italy and see what the festival is really about. Here is this year's festival trailer, coming from Joko Anwar (Indonesia):
When it comes to schedules, I personally will try to see as many films as possible, especially given that it is unsure whether we will be able to enter press meetings or conduct any interviews, which means we will have time only to attend films and write about them. I am not worried about the writing, as I love to write about film, and I have done extensive research into the countries I have been assigned to cover. Plus, I am convinced that once we get into the atmosphere and get the feeling of the festival itself, writing in the correct manner will not be that big of a problem (although I am saying this, I am still quite nervous about the feedback we might get from Spencer about our produced material).
Here is my planned schedule for the next few days (I have been assigned to cover South Korea, the Philippines and Indonesia):
Tuesday, 27 April
6.00pm - South Korean cinema panel (E.J-yong, director of The Actresses and Kim Dong-ho from Pusan International Film Festival)
Wednesday, 28 April
8.55am - Seven 2 One (Hong Kong)
8.00pm - Possessed (South Korea)
Thursday, 29 April
11.ooam - The Legend is Alive (Vietnam)
2.15pm - Running Turtle (South Korea)
8.00pm - The Arrival (The Philippines)
10.50pm - Secret Reunion (South Korea)
Friday, 30 April
11.30am - Hear Me (Taiwan)
2.15pm - Identity (Indonesia)
6.10pm - South-East cinema panel (Erik Matti, director of The Arrival; Riri Riza, director of The Dreamer; Nithiwat Tharatorn, director of Dear Galileo)
At this point I am sure that the schedule is not final, as I am not sure what we can expect to be happening, so slight changes are possible, but I am hoping to see at least some of the films on my list. I am looking forward to attending guest speaker panels, press meetings and interviews (if we are able to get those) and gathering as much information and material as possible for both the official presentation and published material and for my personal experience and collection.
With only a few hours to go, I am literally on the verge of a mental breakdown, while at the same time I have never been that excited in my entire life. I am looking forward to working closely with the members of CUEAFS and producing some good material, making Spencer proud and representing the society on a greater platform than the university forum. Hopefully, if we do a good job, we will have more privileges next year or at least we will have been heard of. And last but not least, the promotional video of our stay in Udine will be our main tool to popularise the society and attract new members, and I can't wait to see what will be there to film and what we will have at the end.
*Images from:
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKULLUZQ6_Mh4oMhkLrW9Nh9kW-UyL3gueLO1e2xot41Es9aoMMNiw7rOqx8f0memkb7EHhZc_nd5fO-CyKrX20O56ksRYwmiybmHY4iLPNuZWE2d12Uk_REVu2CuRwWl3_FF4522_yTaV/s320/seven2one.jpg
http://lolyfe.com/wp-content/uploads/2010/02/Possessed-209x300.jpg
http://www.wavereleasing.com/images/poster_legend.jpg
http://www.flixunlimited.com/wp-content/uploads/Running_Turtle.jpg
http://twitchfilm.net/news/TheArrivalPoster.jpg
http://www.watchtopmovies.com/wp-content/uploads/2010/02/TheSecretReunion.jpg
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaXbGYaYgqgbs1hT_jPFgvO_RN7lBrWLVpsD_gtX5WIJvCyU8pT-l2uwYT9ATR0loT3C8EDwKHJasAx-_wH2jZSmu8qYy2fY4CMNdS7bFV3R82TkQUDWatHawt_1oahNnM_b1v6VpaNLL4/s400/hear_me_02.png
http://1.bp.blogspot.com/_QBXSKg1fEAg/S05HPfmf3GI/AAAAAAAABcQ/YPDcd5gReho/s320/identitas.jpgLabels: cine-vue, cueafs, documentary team, east asian film, far east film, feff, festival, interview, joko anwar, panel, screening, udine, writers team |
created by: anty
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*This article is published on iCov here and on CUEAFS's website here
Since it's foundation in September 2009, the Coventry University East Asian Film Society (CUEAFS) has gone quite a long way. The small society started with the aim of raising awareness of Asian cinema through weekly film screenings, went on to cover national and international festivals and last month organised an Asian symposium and festival in the Midlands in collaboration with Third Window Films.
Founder Spencer Murphy, who has a Ph.D. in the area of Hong Kong films, describes the area of Asian cinema as 'my passion in life'.
“When I was at university, being in a society is something I would've liked to have the opportunity to do”, Murphy said. “Because of my research background, I thought it was better to try something for a broader audience and give an opportunity for professional experience, as well.”
Last year, the society landed two official sponsors in the distribution companies Terracotta, run by Joey Leung, and Third Window Films with Managing Director Adam Torel. Along with Torel and Leung, other guest speakers who held lectures in Coventry University through the initiative of CUEAFS included film writers and journalists Colette Balmain, Jasper Sharp and John Berra.
Shelly Stevenson, associate lecturer in Coventry University, has an ongoing partnership with the society through her website, www.ICov.co.uk.
“I think that the society has been both an amazing idea and a real eye opener”, she commented. “I would not have seen some of the interesting films that have been screened if they had not been in the building - mainly because I had never thought of it. It's so nice to see things from another viewpoint, and the East Asian films have that.”
Outside the university, CUEAFS was involved in the London première of Momoko Ando's 'Kakera – A Piece of Our Lives', where the members took part in the official Q&A with the director for the DVD extras. The society was also part of the Terracotta Film Festival in London, the Far East Film Festival in Udine, Italy, the Zipangu Fest in London and the organisation of East Winds: A Third Window Film Festival in Coventry.
“It's one of the best things I've done while at university”, said Elena Rapondzhieva, a member of the society since 2009. “I've had a great number of such wonderful and unforgettable experiences. “I can only see CUEAFS achieving greater and greater things. If the society's been afloat only for a year and a half and yet has done so much – I can only imagine what it will have in it's portfolio in 5 years.”
CUEAFS has around 15 active members who are enthusiastic about their involvement in the society. Dr John Berra of Nanjing University said: “The members of the society have demonstrated a genuine commitment to achieving the aims of the society. They are also intelligent, open-minded and hard-working, with the necessary positive attitude, and this has obviously inspired the academics, film-makers and journalists that have visited the society since 2009 to become more involved in its various initiatives. “CUEAFS has expanded the parameters for what a ‘student film society’ can achieve, and has done so within a relatively short space of time.”
Spencer Murphy expressed his pride of the enthusiasm of everyone involved in the society and the time and passion they have dedicated to it.
“Of course, I'm very proud of everyone involved and it's a privilege to see people develop over the course of their degrees and it's nice to see this in an environment where students don't do it because they have to, but because they want to and that's what I enjoy about it. It only works when we work together and that's a key to being a society.”
Along with more film screenings and events such as the Chinese Spring Festival Gala and Japanese Halloween Party which CUEAFS organised last year, the society will also take part in 'Raising and Giving' fund-raising week for the victims of Japan's earthquake at the end of this month and it will make an appearance at the Far East Film Festival in Italy once again in April. The future plans for the society also include the launch of a TV channel and the development of their website.
“I'd really like to launch next year a TV channel where we can do more substantial things”, said Murphy. “I'd like to see the website become a platform for Asian cinema in the UK. We can hopefully secure more relationships externally and I think we can expand upon that.”
*Images by Andreea DascaluLabels: cueafs, prof experience |
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*This article is published on iCov here and on CUEAFS's website here
The Coventry University East Asian Film Society (CUEAFS) is heading to Udine, Italy in the end of April to cover the 13th edition of the Far East Film Festival. The 2011 edition will be inaugurated on Friday 29th April, with a presentation of over sixty of the latest titles from the Extreme Orient. The event is curated by the Centro Espressioni Cinematografiche and will take place in Teatro Nuovo Giovanni di Udine.
CUEAFS will attend all nine days of the festival with the purpose of producing video material, interviews and reviews both internally and for their external partnerships. The society will have the chance to see international premières and conduct interviews with actors and directors from the industry for a second year in a row.
Michelle Bailey, outgoing president of the society, was part of the production team on the festival last year. This year, she will be heading the production on set during the second part of the event and will prepare the first team for the experience.
“The festival was one of the best experiences in my life. The interaction with directors and guests was casual and the atmosphere was lovely. I'm really looking forward to this year, it will hopefully be bigger and better.”
For Mariya Kamarashka, one of the later members, this will be the first opportunity to cover the festival. She will take up the role of photographer and will be in charge of the online media.
“I am very excited about this trip. It's going to be an amazing experience, being in one place with so many people sharing the same interest. It's going to be a lot of work, but I think at the end of the day it will be very rewarding.”
Last year, the society sent nine members to Italy to cover the last five days of the festival. CUEAFS attended film panels and conducted interviews with directors and producers, among which Derek Kwok, Clement Cheng, Chapman To, Lee Yong-Ju and Erik Matti and produced written material for its partnership with Cine-Vue.
The society had the chance to see the international premieres of Asian films, including 'The Message' – a film picked by CUEAFS's sponsor for distribution, which the society featured in their own festival, sharing their experience with Coventry and Warwick University students.
*Image by Andreea DascaluLabels: cueafs, prof experience |
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*This article has been produced for CUEAFS and it is published here
Zipangu Fest has joined the Play for Japan fund-raising movement to support the victims of the recent earthquake. The project, led by the Japan Society in London, is aiming to round up fund-raisers among the UK through music and live performances. Zipangu Fest will be doing its share with a re-screening of the CALF Animation Programme in the Roxy in London Bridge on April 3rd.
The programme is a selection of innovative and uplifting short films from young award-winning animators Atsushi Wada, Mirai Mizue, Kei Oyama and TOCHKA (Takeshi Nagata and Kazue Monno).
“I’m really excited to be a part of this, I think it’s going to be a great fun event and I hope we can raise a decent amount”, said Jasper Sharp, curator of Zipangu Fest. “I know it will be a drop in the ocean compared with what Japan needs, but at the same time, I hope its sending out some sort of message of solidarity from us to the people of Japan, that we’re thinking of them and trying to do what we can.”
Zipangu Fest launched its first ever edition in November last year in the Cafe 1001 in London with a selection of UK and world film premieres and a few music events. Among the celebrity guests was director Tetsuaki Matsue, whose documentary “Live Tape” depicted the life of the “Bob Dylan of Japan” - a Japanese street musician Kenta Maeno. The film was an unconventional approach in documentary film-making and was a one tape/one take piece of filming.
Following the film, musician Kenta Maeno entered the venue and began his live set of vibrant rock and folk songs with an accompaniment of the haunting melody of an erhu – a Chinese harp, played by Yuki Yoshida.
“The event was a good opportunity to see recent work and people that are still very much a niche over here in the UK”, said Oliver Sharpe, one of the photographers at the scene.
In April, Zipangu will be travelling to Newcastle in collaboration with the Star and Shadow cinema, where the programme will show a Japanese Film Season programme selected from the festival's first year.
“We’re going to show some of the programme at an event in Tallinn in Estonia this Summer. But really we’re mainly focussing on finding some good films and events for this year”, added Jasper Sharp.
*Images by Oliver SharpeLabels: cueafs, prof experience |
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*This article is published on iCov here and on CUEAFS's website here
Last night, the Coventry University East Asian Film Society (CUEAFS) in collaboration with Third Window Films closed the first ever issue of East Winds: A Third Window Film Festival which took place in the Warwick Arts Centre. The three day event was held in the memory of Journalism and Media colleague and friend Nadia Baird, who passed away earlier this week. The closing film of the festival, 'The Message', was a special commemorative screening in celebration of the life and work of Nadia, who had been a member of CUEAFS since 2009.
The festival opened on Friday, February 11, with the première of Japan's entry to the Oscars, 'Confessions' by director Tetsuya Nakashima. Other films from the programme included 'Memories of Matsuko' by the same director, Gen Takahashi's 'Confessions of a Dog', 'Cold Fish' by director of CUEAFS's screened 'Love Exposure' Sion Sono and the UK première of 'The Message' by Qunshu Gao and Kuo-Fu Chen.
CUEAFS's founder Spencer Murphy collaborated heavily with Third Window Film's Managing Director Adam Torel and John Gore from the Warwick Arts Centre in the weeks leading to the event.
“East Winds was very successful this year and I'm very pleased”, commented Mr Murphy. “Getting this festival established is a very important and very difficult task and to be able to do it this and next year will be a great accomplishment.”
Members of the society were the driving force behind the realisation of East Winds. This was the first event on such a grand scale that was partially organised by them, along with the Asia Exposure Symposium earlier this weekend.
Diana Stefanescu, current treasurer of CUEAFS, said she is very proud to have been involved in the festival, especially as this is her final year in Coventry. Stanley Lau, another member of CUEAFS, shared: “It was an amazing experience to be part of a festival that could match the big boys in the industry."
Among the guests to the event were Japanese director Gen Takahashi and Italian composer Gabriele Roberto, both of whom held Q&A sessions with the festival guests. Other attendees were writers and journalists from the industry, such as Colette Balmain, John Berra, Jasper Sharp, Martin Cleary and Daniel Green.
*Images by Andreea DascaluLabels: cueafs, prof experience |
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*This interview has been produced for CUEAFS and it is published here
Adam Torel is the owner of Third Window Films – one of the largest distributors of contemporary East Asian Cinema, whose main aim is to raise awareness of the Asian film industry in the UK. Adam started the company five years ago after leaving Tartan Films, as he wanted to explore 'a full spectrum of genres' rather than mainstream Asian productions.
This year, Third Window Films with the help of Coventry University East Asian Film Society (CUEAFS) and the Warwick Arts Centre organised the East Winds: A Third Window Film Festival, which was held in the Warwick Arts Centre from February 11 to February 13. The idea for the event came about as Adam wanted to explore the UK outside of London and raise awareness in places where Asian film is not widely seen or talked about.
“I feel that it's better to reach out in such places instead of 'preaching to the converted' in larger areas”, he said.
Adam and CUEAFS's founder Spencer Murphy had talked about the concept of preparing a larger event where the students could have a more active participation.
“We thought about a film festival 'by the students and for the students'”, Adam commented. “In this way I could better reach my goal of trying to spread the word of Asian cinema (as well as my company) to a Midlands student population, and the students could take a real-life experience to accompany their studies.”
Selection of the films for the festival programme was based on 'keeping costs low' as Mr Torel said that “staying within budget is the most important skill when organising a festival”. The films featured came from Third Window Films' catalogue, including the Japanese entry to the Oscars, 'Confessions' by Tetsuya Nakashima and 'The Message' by Qunshu Gao and Kuo-Fu Chen, premiering in the UK.
“I wanted to show a wide spectrum of Asian film from the decade as a sort of 'beginners guide to Asian cinema' which focused on all genres across Asian, and initially wanted to play a few more 'art house' titles such as 'Oasis' or 'Peppermint Candy', but thought it best to keep things a little more simple and 'friendlier' to a lesser experienced (in terms of Asian film watching) crowd.”
Adam had worked closely with Spencer Murphy on organising the pre-festival work in regards to the selection of films and organising guests. In the meantime, CUEAFS handled the majority of marketing and also played a role in the day-to-day activity of the festival, which Adam said he 'wanted them to do'.
“I was really busy with a few other film releases that week so I had hoped that the society would take up the mantle of making sure everything went smoothly throughout the festival and I'm very happy with the work they did”, he added. “I hope in the future they can also take over the role of planning so that they can learn the whole experience from start-to-finish of organising a festival”.
Adam became one of the official sponsors of the Coventry University East Asian Film Society (CUEAFS) last year and donated a few titles to the society, including Momoko Ando's 'Kakera' and Sion Sono's 'Love Exposure'. Due to the collaboration, the society was also invited to the official premiere of 'Kakera' in London, where the members got a chance to participate in a Q&A session with the director, which was part of the official DVD extras.
*Image by Andreea DascaluLabels: cueafs, prof experience |
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This year the Coventry University East Asian Film Society has big plans. New members, new guest speakers and some amazing films screened already set things in the right direction.
In addition to Dr. Shaun Hides and the expert on Japanese cinema Mr. Jasper Sharp, the society has planned quite a few visits by 'big fish' within the realm of Asian cinema. CUEAFS is also preparing for other exciting events, such as the screening of the recently released 'Big Tits Zombie' in 3D, followed by a Halloween fancy dress party in 'Inspire'. And this is only the beginning.
Later this year, CUEAFS will be covering the Far East Film Festival in Udine, Italy and the Terracotta Film Festival in London. Along with that, CUEAFS has quite a few projects lined up, together with internal professional experience opportunities.
A lot of the society's work is not pure entertainment, but it gets the attention and respect of professionals in the field. Last year, the society travelled down to London for the premiere of 'Kakera - A Piece Of Our Lives', where they interviewed director Momoko Ando and their participation in the Q&A session was included in the original DVD extras.
At the end of April, the society covered the second part of the Far East Film Festival, where with an official media pass they did interviews, media panels and collaborated with an external webspace to produce material. In May, CUEAFS was a part of the Terracotta Film Festival, where they were again treated as professionals and did amazing work.
If you're interested in producing written/visual material and being treated as a professional by professionals in the field, join the Facebook group or join officially at www.cusu.org/eastasianfilmsociety and check out CUEAFS's work at www.youtube.com/user/CUEAFS and the official website www.cueafs.com.Labels: cueafs |
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By Niya Diamo
Last week, Coventry University East Asian Film Society (CUEAFS) had a very special guest speaker in addition to a powerful movie. Dr. Colette Balmain is the author of ‘An Introduction to Japanese Horror Film’ and an expert on the horror genre, having published many articles on both European and East Asian horror films. She is currently writing and researching material for an upcoming book on Korean horror cinema, focusing on the Gothic and its relationship with the historical and traumatic past.
Dr. Balmain gave a long and interesting talk on the characteristics of South Korean cinema, both in the past and in the present, as well as pointing out the differences between historical periods and films from other nearby regions. She talked about the emerging of Korean horror and explained certain motives, such as ‘otherness’, suffering in the sense of resentment, the contradiction between sisterhood and the rivalry between women and the conspiracy of silence, which were then interesting to see in the screened South Korean film, ‘Shadows in the Palace’.
The film touched upon those delicate ideas and others, such as the power structure within the court yard, as well as the treatment of women by women.
This Wednesday is CUEAFS’s last screening for this term, so don’t miss it, as public screenings will be extremely limited next term. We will be screening another film by a female director, ‘Run Papa Run’, a Hong Kong mixture of genres about a Triad gang leader, trying to conceal his criminal identity from his young daughter.
p.s. the original article, written for The Buzz, consequently published in another version.Labels: cueafs |
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By Niya Diamo
Last week’s screening of the ‘female saturated’ film ‘Shadows in the Palace’ provided sufficient ground for some research on feminism and women’s status in the 21st century, especially in Eastern Asia. Not only that, the approach of the International Women’s Day and the screening of yet another film with a female director prompted some relatively curious research into the social state of women in East Asia.
Prior to the 20th century, women in China were considered essentially different from men, as women were believed to occupy a lower position than men in the hierarchal order of the universe. Women were to be submissive and obedient to men and were not allowed to participate in government or community institutions. Now this cultural perception is difficult to challenge. Whilst in Western feminism, the categories of ‘man’ and ‘woman’ are understood as two equal real categories, Chinese culture perceives them as social categories, as gender has always influenced social status and the rights thereof.
Beginning in the 70s and continuing in the 80s, however, many Chinese feminists began arguing that the Communist government had been ‘consistently willing to treat women's liberation as something to be achieved later, after class inequalities had been taken care of’. Some feminists claim that part of the problem is a tendency on the government's part to interpret ‘equality’ as sameness, and to treat women according to an unexamined standard of male normalcy.
Japanese feminism differs from Western feminism in that it is less focused on individual autonomy. Prior to the 19th century, Japanese women were traditionally taught to obey a male, either a father, husband, or son. However, after the abolition of the feudal system, a number of changes were made in the status of women. Trafficking in women was restricted; women were allowed to request divorces; and both boys and girls were required to receive elementary education. Further changes to the status of women came about in the aftermath of World War II. Women received the vote, and the new constitution of 1946 stipulated equality between the sexes.
Today, because of the efforts of feminists and suffragettes, women’s status in East Asia is vastly different from a few decades ago. In China, women are encouraged to take part in the political and social processes. In Japan, Women began to participate in ever greater numbers in a range of economic and social activities. However, the equality of men and women has not been fully achieved in practice, for the traditional concept that women are to stay at home is still deeply rooted. Though women are enjoying an improved social status, society still adopts double standards to appraise men and women. Women's involvement in politics is still far from satisfactory and women are still discriminated against in the workplace.Labels: cueafs |
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By Niya Diamo
The Chinese biographical drama “Confucius”, starring Hong Kong star Chow Yun-Fat (“Crouching Tiger, Hidden Dragon”) bumped the blockbuster “Avatar” off cinema screens earlier this year. Speculation suggested Cameron’s masterpiece was pulled because of the similarities with a present sensitive issue in China.
Whilst the reason was not quite clear, the film remained at 3D cinemas, and its Chinese competition was chosen to mark the beginning of the Year of the Tiger.
Crowds did show up at the theatres, but mostly to see “Avatar”. Most of the audience, as well as a historian, present at the “Confucius” screening, were puzzled by all the inaccuracies in the movie.
As things did not look very promising, the Chinese government decided to bring “Avatar” back to some Chinese cinemas – a decision mainly based on the financial performance of the film which reportedly makes approximately 2.5 times more money per day than the Chinese epic.Labels: cueafs |
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By Niya Diamo
Last week the society screened the martial arts blockbuster “Bodyguards and Assassins” and whilst most viewers were not quite impressed by the story and the predictability of the plot, one thing that was certainly worth experiencing was the music.
The soundtrack was brilliant – from the quick-paced accompaniment during the fight sequences to the slow and emotional tunes in the touching scenes. Every note was in its place.
Some of you might not have heard of Peter Kam, although his name might be familiar from another earlier screened film – “Shunjuku Incident”, where comments on the breath-taking work of the composer were certainly not absent. His spectacular work in “Bodyguards and Assassins”, though, would most likely receive a lot of credit and would put him back in the “Best original score” category.
Peter’s most praised piece of music is the soundtrack of “Yi Sa Bui Lai” (Isabella), for which he received two awards and a couple of nominations for best soundtrack. He is among the most famous film composers in the Asian realm of cinema. Other similar amazing artists include Chan Kwong Wing (co-composer in “Bodyguards and Assassins”), Leon Ko (“Perhaps Love”) and Joe Hisaishi (“Spirited Away”).Labels: cueafs |
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By Niya Diamo
Most of the world celebrated New Year’s Day on the 1st of January and last week we celebrated Valentine’s Day, but for some people things weren’t quite like that. Whilst February 14th marked the day of romance in Western culture, it was also the beginning of the Year of the Tiger, according to the Chinese calendar.
The Tiger is the third sign in the Chinese zodiac cycle and it is a sign of courage and fearlessness, praised by the ancient Chinese as it is believed to be the sign that keeps away the three main disasters of the household – fire, thieves and ghosts. The year 2010 is a Metal year, called Geng-Yin in Chinese, and it is the mark of the Golden or White tiger, sometimes considered unlucky, as white is the colour of death in Asian culture.
The tiger is one of the most dynamic and powerful signs in the Chinese astrology and the Year of the Tiger is usually associated with big changes and social disorder. The Tiger year is a year of difficulty and normally with a Tiger year there is much conflict. Events such as the First World War, China’s invasion in Tibet and Iraqi-Sudan conflicts all commenced in a Tiger year. The nature of the Tiger is unpredictable, courageous and explosive, so this year will be more about unexpected change in your life. Be careful with your health, as a Metal year presents potential health jeopardy, and be prepared to uncover lies about the past.Labels: cueafs |
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By Niya Diamo
Spring Festival is the alternative name of the Chinese New Year. Unlike most of the world which has adopted the arithmetical Gregorian calendar, the Chinese use a lunar calendar according to which the New Year begins with the New Moon on the first day of the New Year and ends on the full moon 15 days later. The 15th day is known as the Lantern Festival, celebrated with lantern displays and a parade.
Chinese New Year or Spring Festival is the most significant of the traditional Chinese holidays. During the celebrations, people would wear red clothes, as red carries positive connotations and it is associated with success, fortune and happiness. One of the key celebration elements is the Dragon dance, which symbolises the bringing of luck and success into the coming year. Exchanging gifts and greeting cards are also typical for the period of the Spring Festival.
The first three days, people visit their families, relatives and friends. On the fifth day people shoot off firecrackers, in the attempt to get Guan Yu's attention (the God of wealth), thus ensuring his favour and good fortune for the New Year. The seventh day is the common man's birthday, the day when everyone grows one year older. The eighth, ninth day and tenth day are a celebration of the birth of the Jade Emperor. The thirteenth day is dedicated to the Chinese God of War. And the last day of the Spring Festival, the fifteenth day, is the Lantern Festival, when families walk the street carrying lighted lanterns. This day often marks the end of the Chinese New Year festivities.
Although the Chinese calendar traditionally does not use numbered years, outside China the years are often numbered from the reign of the Yellow Emperor, Huangdi, making the year 2010 "Chinese Year" 4707.Labels: cueafs |
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By Niya Diamo
Last week’s screening caught the eye of many people, who couldn’t get in the door. The words ‘sex and violence’ in addition to ‘members only’ were a great attraction. But those of us who were expecting more pornography and less blood were up for a big surprise.
Pinku eiga films (or ‘pink cinema’) emerged around the 1960s as a form of rebellion against the conservatism in post-war Japanese cinema. There are different types of pink films, ranging from more violent to more pornographic. They are usually an hour long and have no storyline, although we were able to find deep and serious concepts in some of them.
As nudity and sex were a big taboo in post-war Japanese cinema, pinku eiga films were not exactly praised for their content. However, when in 1965 director Tetsuji Takechi was arrested for one of his films on charges of obscenity and won the lawsuit, the doors in front of pinku eiga were opened and many more were to follow.
When it comes to recommendations, though, I wouldn’t make any. Next time, if someone offers to show you a pink film, just say ‘no, thanks’.Labels: cueafs |
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By Niya Diamo
Last week James Cameron’s blockbuster “Avatar” was banned in Chinese cinemas. With the imminent approach of the Chinese New Year, the film has been taken off screens to make room for a domestic production.
The country is known for its strict rules on foreign films, allowing only 20 productions to enter Chinese cinemas in order to support domestic industry. However, when it comes to bans, the reasons go further deep.
China doesn’t have a film classification system and all movies are passed to general audiences. However, the main reason for banning is not violence, nudity or language, but a rather more sensitive political situation.
Banned films
On the list of banned movies around the world, we can find violent horrors such as “Hostel”, “Saw”, “Halloween” and “The Texas Chainsaw Massacre”, as well as films such as “Zack and Miri Make a Porno”, “Borat” and “Bruno”, for pornographic material, language and nudity.
What we can find on China’s list, however, is a rather more complicated process. Most banned movies, whether foreign or domestic, are related to delicate political issues. Only here can we find “Seven Years in Tibet” (for its view on a free Tibet), “Lara Croft and the Tomb Raider” (for unflattering depictions of Chinese society), “Memoirs of a Geisha” (because it could rouse anti-Japanese sentiment) and “Pirates of the Caribbean” (for negative portrayal of Chinese people).
One of CUEAFS’s screenings, “Shinjuku Incident”, was also banned in China for its violence, although it has been speculated that the real reason behind the ban was the sensitive situation with Chinese immigrants in Japan.
The story with “Avatar”
For those of you who have not yet seen the movie, stop reading and go do so!
As far as the reasons for ban go, the Chinese government claims that with the approach of the Chinese New Year, it is time to make room for the film “Confucius”, starring well-known Chow-Yun Fat (“Crouching Tiger, Hidden Dragon”).
However, speculation leads in another way. Allegedly, the authorities feared the public might make a connection between the plot and the present delicate situation in China, where people are being evicted to make way for mines, dams and other government infrastructure projects.
The other side of the coin
It is worth knowing that China is far from being the country with the biggest number of banned films in the world. One of the leaders in this race is actually Australia, with reasons being mainly sex and violence, with examples such as “Of Mice and Men”, “Frankenstein” and “Dracula”.
With whatever measures, though, it is well-known that people are going to see what they want to see. The government might have its reasons to ban certain productions, but the audience has the reasons (and moreover the right) to see them. In today’s situation, “banned” is strictly a term, as it has become almost obsolete with the accessibility of prohibited films over the internet and on pirate DVD’s.Labels: cueafs |
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