Gặp Gỡ Mùa Thu 2016
AUTUMN MEETING 2016 ACTIVITIES
#AutumnMeeting #Gapgomuathu2016
Organized by: DNY Productions – In Co-operation with VUS (Vietnam – USA Society English Center)
Organizers: Director Phan Dang Di, Producer Tran Thi Bich Ngoc.
Media Sponsor: Thanh Nien News.
Main Partners: People’s Committee of Da Nang; Kaohsiung Film Archive (Taiwan), Red Ruby entertainment, Hoa Sen University
Main sponsors: CGV, CJ E&M, SIFS, VNG Corporation, Vingroup
Date: from November 8th to November 16th , 2016.
Other related programs by AM 2016 will take place beginning 05/2016.
Main Location: Da Nang City and Hoi An Ancient Town.
Some AM 2016 courses will also take place in Ho Chi Minh City.
Other Media Partners: VNExpress News, Vietnamnet, Tuoi Tre News, The Thao & Van Hoa. Lao Dong News, Dep, Elle, The Thao & Van Hoa Men, Da Nang Newspaper. Culture – Events – People Program by VTV3. Young Cinema by VTV6, Cinema Program by VTV2. VTV4 channel, VTV Da Nang, DRT Da Nang.
PROGRAM SUMMARY:
Autumn Meeting 2016 is organized by DNY Productions in cooperation with local and international organizations. Since the first Autumn Meeting in 11/2013, the program has been on its way to become an annual cinema event in late autumn in Da Nang beach city and Hoi An ancient town.
Autumn Meeting 2016 continues to be the converging spot for the most familiar and successful faces in Vietnamese cinema through its professional exchange activities, Gala screenings, awards, and fundraising programs. Furthermore, since 2014, Autumn Meeting has welcomed important international guests from Korean Academy of Film Arts, Motion Picture Association of America as well as members of Cannes and Venice International Film Festivals. This year, apart from the familiar faces above, AM will for the first time welcome filmmakers from South East and East Asia and other delegates from Berlin International film festival, Hong Kong International Film Festivals, Kaohsiung Film Archive and Kaohsiung International Film Festival, Fukuoka Asian Film Festival…
Retaining the same guiding principle of discovering and providing support for new cinema talents, Autumn Meeting 2016 will select and invite young filmmakers in the country with promising short projects to present and complete their works in workshops guided by established local and international filmmakers. Additionally, since 2015, AM courses have also begun to welcome young filmmakers from South East Asian and East Asian countries. As the workshops conclude, the best projects selected by a jury of leading movie professionals will be awarded valuable prizes to help propel these projects into future films.
Autumn Meeting 2016 will continue to welcome the world acclaimed Vietnamese director Tran Anh Hung as the instructor for the Directing Workshop. Mister Tran Anh Hung will also be the Jury President for the “Short Film of the Future” Award. French editor Julie Beziau will be in charge of the Editing Workshop. French Colorist Yov Moor will be in charge of Color-grading Workshop, Indonesian filmmaker Joko Anwar and Tia Hasibuan will be in charge of Specialized Workshop “Making movies with a super low budget”. The first ever Acting Workshop by AM will be led by Korean professor Lydia Park, with a special appearance by acclaimed actress Moon So-ri.
Well known Vietnamese actors/actresses and directors will take part in various Autumn Meeting 2016 activities as the event’s official guests.
With the mission of unifying and developing Vietnamese cinema as well as stimulating cinematic discourses with other countries in the region (South East Asia and Asia-Pacific), Autumn Meeting 2016 is a non-profit cultural event that aims to assist young cinema talents. The three AMs so far in 2013, 2014, and 2015 have received enormous support from Vietnamese media outlets and adoration from both Vietnamese and international artists. Most importantly, AM is at the receiving end of the immense support from the people and governmental bodies of the cities it resides. As it grows, AM strives to become a significant International Film Festival in the near future.
AUTUMN MEETING 2016 ACTIVITIES
I. Workshops with well-known filmmakers.
AM 2016 filmmaking courses will be divided into 5 workshops.
Directing Workshop will still be under the guidance of director Tran Anh Hung. 12 young Vietnamese and international filmmakers with exciting short film projects will be chosen to attend the 7-day workshop.
English will be the official language in this workshop.
Editing Workshop, 20 young directors and editors will take part in an 8-day course in Ho Chi Minh City taught by veteran French editor Julie Beziau. Besides editing theories, the course will focus on practice. Attendants will be instructed on how to re-edit and renovate their previous projects.
This workshop will take place from May 10 to May 18 in Ho Chi Minh City.
Color-grading Workshop, 20 young directors and colorists will take part in an 8-day course in Ho Chi Minh City taught by veteran French Colorist Yov Moor. Besides color-grading theories, the course will focus on practice. Attendants will be instructed on how to do color-grading and renovate their previous projects.
This workshop will take place from October 5th to October 13th in Ho Chi Minh City
Acting Workshop: AM will orchestrate a 20 student course with Vietnamese young talents. Attendants will learn under renowned acting coach, Ms. Lydia Park. After completion, Acting Workshop attendants will have the chance to perform alongside movie stars in selected short projects that will be screened in AM 2016 Closing Gala. Attendants can also find acting prospects from other film projects participating in AM program. In November 15th, attendants will join the Panel Discussion with the acclaimed actress Moon So-ri (South Korean) on a subject of: “The co-operation between director and actor/actress in filming”.
Specialized Workshop – Making movies with a super low budget. AM has designed this special course for 12 young Vietnamese and International filmmakers who had taken part in AM before along with other filmmakers in the region who are getting ready to make their first feature. Guest lecturers are director Joko Anwar, producer Tia Hasibuan (Indonesia) – who have made successful movies with very low budget (under 50,000 USD) but are still invited to the most prestigious film festivals in the world.
II. Feature Project Market
This is the third year this format is adapted into AM program. During Feature Project Market, commercial and art-house film projects will be presented in search of investors or buyers.
Art-house Film Corner is reserved for art-house film projects. 6 to 8 projects from Vietnam and Asia will be selected for presentation before a panel of judges including respected Vietnamese and international art film directors and curators film prestigious film festivals like Hong Kong, Venice, Berlin. The judges will pick the best project for the Autumn Meeting Grand Prix. Additionally, projects competing at Art-house Film Corner will have the chance to be invited to other film project markets at notable film festivals or receive sponsorship from international movie funds depending on the ingenuity and potential of each project.
In the third year of Art-house Film Corner, AM organizers expect to welcome Mr. Paolo Bertolin, curator for Venice Film Festival in South East Asia, Mr. John Badalu, curator for Berlin Film Festival, director Tran Anh Hung, director Joko Anwar, and a respected Vietnamese producer as the judges for Autumn Meeting Grand Prix.
The counterpart of Art-house Film Corner for commercial projects is Entertainment Film World.
At Entertainment Film World, 8 high quality Vietnamese commercial projects will be presented through pitching sessions and personal interactions with producers from various production companies in the country.
After getting to know the projects, producers will be invited to sit on a judging panel headed by director Victor Vu. The judges will select the best project in Entertainment Film World to give the Producers’ Choice Award.
III. In Focus: Short film collection from Kaohsiung.
“Short film collection from Kaohsiung” is a collaboration between Autumn Meeting and Kaohsiung Film Archive. This program showcases 8 short films made by young Taiwanese filmmakers and funded by Kaohsiung Film Archive. Four representatives from Kaohsiung Film Archive and 4 young Taiwanese film directors will be invited to Ho Chi Minh City and Da Nang to present their films. They also join the panel discussion with other young Vietnamese filmmakers in the subject of “Establishing a filmmaker’s identity through short films”. The filmmakers are also invited to join Autumn Meeting’s activities and closing ceremony on November 16 in Da Nang.
IV. “Voices of Vietnamese Filmmakers” forums and convention.
“Voices of Producers” forum gathers well-regarded producers from Vietnam (see list in appendix) to discuss issues relating to their works. The anticipated topic for the forum this year is: “How to produce a high quality film with a low budget”.
“Voices of Directors” forum also welcomes the best Vietnamese directors (see list in appendix) to talk about the most essential aspects of their careers. Expected topic: “Establishing the Directors Guild of Vietnam”.
Convention –“Establishing a Da Nang – Hoi An International Film Festival – from the experience of professional film festival organizers around the world.”
AM and People Committee of Hoi An this year invites representatives, organizers, and managers from reputable Asian film festivals such as: Hong Kong Film Festival, Busan Film Festival, Fukuoka Film Festival as well as representatives of top international film festivals in the world: Cannes Film Festival, Berlin Film Festival, and Venice Film Festival to a convention with Da Nang, Hoi An government committee, travel agencies, and event organizers. This convention will focus on getting idea and creating a model for an international film festival in the area in the near future.
V. Autumn Meeting 2016 Awards.
One of the most important feature of AM is aiding young movie talents through awards. They are:
1. Autumn Meeting Grand Prix Award.
For the best project at Art-house Film Corner. The winner will receive a cash prize of $5,000 and an AM Grand Prix certificate. The winning director will use this money to continue developing their project until it becomes a feature film.
2. Producers’ Choice Award.
For the best project at Entertainment Film World. The winner will receive a cash prize of $3,000 and an AM Producers’ Choice certificate.
3. Short Film of the Future Award.
For the best project at the Directing Workshop. Young filmmakers will pitch the projects they’ve developed after the 6-day course before a judging panel led by director Tran Anh Hung. The winning entry will receive a cash prize, certificate, and an equipment package at AM Gala Screening and closing ceremony.
4. Emerging Star Awards.
For the best attendants in the Acting Workshop. There are:
- Best Actor Award (selected by judges).
- Best Actress Award (selected by judges).
- Best Actor Award (selected by audience).
- Best Actress Award (selected by audience).
Expected value of each award is $1,000.
VI. Gala Screening and Closing Ceremony.
A red carpet event will commence AM 2016 Closing Gala. Movie stars and valuable guests from within and outside of Vietnam will appear before the fans and audience. Here selected short films by previous Autumn Meetings attendants, exclusive works by 2016 Acting Workshop students and guest stars will be screened. The Closing Ceremony will see the awards (Autumn Meeting Grand Prix, Producers’ Choice, Short Film of the Future, Stars’ Choice, and Emerging Star Award) given to the best new faces of cinema. Last but certainly not least, this night will also be devoted in gratitude of the sponsors whose tremendous contribution has built and strengthened Autumn Meeting.
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จำได้หรือไม่ ทาทา ยัง คือคนไทยคนแรกที่ได้ขึ้นปก Time Magazine ฉบับเดือนเมษายน ปี 2001 เนื้อหาเกี่ยวกับประเด็น Eurasian Invasion รวมลูกครึ่งเอเชียที่มาแรง ร่วมกับนักแสดงชาว Hong Kong Maggie Q สมัยสาวๆ และ Indian VJ Asha Gill
เนื้อหาประกอบ บางส่วน :
Tata Young certainly knows how to let loose. Back in 1995, when she broke into Thailand's entertainment industry at the age of 15, the pert half-Thai, half-American singer was on the forefront of the Eurasian trend. Today, the majority of top Thai entertainers are luk kreung. Now 20, Young is the first Thai to sign a contract with a major U.S. label, Warner Brothers Records (owned by AOL Time Warner, parent company of Time), which she hopes will elevate her into the Britney Spears/Christina Aguilera pantheon. Back at home, Young has to contend with a gaggle of luk kreung clones who mimic her brand of bubble-gum pop. The hottest act now is a septet called, less-than-imaginatively, Seven, and three out of seven are of mixed race.
The luk kreung crowd tend to hang tight, dining, drinking and dating together. "We understand each other," says Nicole Terio, one of the group. "It comes from knowing what it means to grow up between two cultures." But the luk kreung's close-knit community and Western-stoked confidence sometimes elicits grumbles from other Thais, who also resent their stranglehold on the entertainment industry. The ultimate blow came a few years back when Thailand sent a blue-eyed woman to the Miss World competition. Sirinya Winsiri, also known as Cynthia Carmen Burbridge, beat out another half-Thai, half-American for the coveted Miss Thailand spot. "Luk kreung have made it very difficult for normal Thais to compete," gripes a Bangkok music mogul. "We should put more emphasis on developing real Thai talent." The Eurasians consider this unfair. "I was born in Bangkok," says Young. "I speak fluent Thai and I sing in Thai. When I meet Westerners, they say I'm more Thai than American." Channel V's Asha Gill senses the frustration: "A lot of Asians despise us because we get all the jobs, but if I've bothered to learn several languages and understand several cultures, why shouldn't I be employed for those skills?"
The jealous sniping angers many who suffered years of discrimination because of their mixed blood. Eurasian heritage once spoke not of a proud melding of two cultures but of a shameful confluence of colonizer and colonized, of marauding Western man and subjugated Eastern woman. Such was the case particularly in countries like the Philippines, Thailand and Vietnam, where American G.I.s left thousands of unwelcome offspring. In Vietnam, these children were dubbed bui doi, or the dust of life. "Being a bui doi means you are the child of a Vietnamese bar girl and an American soldier," says Henry Phan, an Amerasian tour guide in Ho Chi Minh City. "Here, in Vietnam, it is not a glamorous thing to be mixed." As a child in Bangkok during the early 1990s, Nicole Terio fended off rumors that her mother was a prostitute, even though her parents had met at a university in California. "I constantly have to defend them," she says, "and explain exactly where I come from."
Ever since Europe sailed to Asia in the 16th century, Eurasians have populated entrepots like Malacca, Macau and Goa. The white men who came in search of souls and spices left a generation of mixed-race offspring that, at the high point of empire building, was more than one-million strong. Today, in Malaysia's Strait of Malacca, 1,000 Eurasian fishermen, descendants of intrepid Portuguese traders, still speak an archaic dialect of Portuguese, practice the Catholic faith and carry surnames like De Silva and Da Costa. In Macau, 10,000 mixed-race Macanese serve as the backbone of the former colony's civil service and are known for their spicy fusion cuisine.
Despite their long traditions, though, Eurasians did not make the transition into the modern age easily. As colonies became nations, mixed-race children were inconvenient reminders of a Western-dominated past. So too were the next generation of Eurasians, the offspring of American soldiers in Southeast Asia. In Thailand, luk kreung were not allowed to become citizens until the early 1990s. In Hong Kong, many Eurasians have two names and shift their personalities to fit the color of the crowd in which they're mixing. Singer and actress Karen Mok, for example, grew up Karen Morris but used her Chinese name when she broke into the Canto-pop scene. "My Eurasian ancestors carried a lot of shame because they weren't one or the other," says Chinese-English performance artist Veronica Needa, whose play Face explores interracial issues. "Much of my legacy is that shame." Still, there's no question that Eurasians enjoy a higher profile today. "Every time I turn on the TV or look at an advertisement, there's a Eurasian," says Needa. "It's a validating experience to see people like me being celebrated."
But behind the billboards and the leading movie roles lurks a disturbing subtext. For Eurasians, acceptance is certainly welcome and long overdue. But what does it mean if Asia's role models actually look more Western than Eastern? How can the Orient emerge confident if what it glorifies is, in part, the Occident? "If you only looked at the media you would think we all looked indo except for the drivers, maids and comedians," says Dede Oetomo, an Indonesian sociologist at Airlangga University in Surabaya. "The media has created a new beauty standard."
Conforming to this new paradigm takes a lot of work. Lek, a pure Thai bar girl, charms the men at the Rainbow Bar in the sleaze quarters of Bangkok. Since arriving in the big city, she has methodically eradicated all connections to her rural Asian past. The first to go was her flat, northeastern nose. For $240, a doctor raised the bridge to give her a Western profile. Then, Lek laid out $1,200 for plumper, silicone-filled breasts. Now, the 22-year-old is saving to have her eyes made rounder. By the time she has finished her plastic surgery, Lek will have lost all traces of the classical Thai beauty that propelled her from a poor village to the brothels of Bangkok. But she is confident her new appearance will attract more customers. "I look more like a luk kreung, and that's more beautiful," she says.
A few blocks away from Rainbow Bar, a local pharmacy peddles eight brands of whitening cream, including Luk Kreung Snow White Skin. In Tokyo, where the Eurasian trend first kicked off more than three decades ago, loosening medical regulations have meant a proliferation of quick-fix surgery, like caucasian-style double eyelids and more pronounced noses. On Channel V and mtv, a whole host of veejays look ethnically mixed only because they've gone under the knife. "There's a real pressure here to look mixed," says one Asian veejay in Singapore. "Even though we're Asians broadcasting in Asia, we somehow still think that Western is better." That sentiment worries Asians and Eurasians. "More than anything, I'm proud to be Thai," says Willy McIntosh, a 30-year-old Thai-Scottish TV personality, who spent six months as a monk contemplating his role in society. "When I hear that people are dyeing their hair or putting in contacts to look like me, it scares me. The Thai tradition that I'm most proud of is disappearing."
In many Asian countries—Japan, Malaysia, Thailand—the Eurasian craze coincides with a resurgent nationalism. Those two seemingly contradictory trends are getting along just fine. "Face it, the West is never going to stop influencing Asia," says performance artist Needa. "But at the same time, the East will never cease to influence the West, either." In the 2000 U.S. census, nearly 7 million people identified themselves as multiracial, and 15% of births in California are of mixed heritage. Crouching Tiger, Hidden Dragon, the Oscar-winning kung fu flick, was more popular in Middle America than it was in the Middle Kingdom. In Hollywood, where Eurasian actors once were relegated to buck-toothed Oriental roles, the likes of Keanu Reeves, Dean Cain and Phoebe Cates play leading men and women, not just the token Asian. East and West have met, and the simple boxes we use for human compartmentalization are overflowing, mixing, blending. Not all of us can win four consecutive major golf titles, but we are, indeed, more like Tiger Woods with every passing generation.
cr. TIME / HANNAH BEECH
#SentiSaturday
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