Go Back to China marks return of film director Emily Ting, inspired by her stint in the family business

The Los Angeles-based director and producer recalls how being pushed into the family’s toymaking business in Hong Kong put her moviemaking dreams on hold – but not for too long

For full article, please visit SCMP

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Call for submissions: FEMINIST MEDIA STUDIES

SUBMISSIONS DUE 26 APRIL 2019

Call for submissions

FEMINIST MEDIA STUDIES

Commentary and Criticism

19.5 PREGNANCY AND THE MEDIA

The broad expansion of the post-feminist media landscape of the past couple of decades brought about an increased visibility of spectacularised and idealised ideas of pregnancy – a romanticised “new momism” (Douglas and Michaels, 2004). Alongside these romanticised discourses, though, exist numerous examples of mediated pregnancies that sit outside of such glamorised and perfect representations of pregnancy. This context has also opened up new networked spaces for people to seek and offer support online in relation to pregnancy, as well as spaces to search for or share (self-)representations of pregnancy. The editors of Commentary and Criticism invite short essays that critically consider pregnancy and contemporary media. Possible topics might include, but are not limited to:

·         Media representations of pregnancy

·         Pregnancy in the media industries

·         Online users and communities’ uses of digital media related to pregnancy

·         Celebrity pregnancies

·         Mediated pregnancy in relation to diverse intersectionalities including: LGBTQ+, age, race, class, ability

·         Audiences’ consumption of mediated pregnancy

·         Pregnancy in the context of health communication or health policy in the media

·         Onscreen pregnancy and genre

·         Neoliberalism, pregnancy and media

The Commentary and Criticism section of Feminist Media Studies aims to publish brief (~1000 words), timely responses to current issues in feminist media culture, for an international readership. Submissions may pose a provocation, describe work in progress, or propose areas for future study. We will also consider book and event reviews, as well as contributions that depart from traditional academic formats. We encourage all submissions to strategically mobilise critique to also offer a productive contribution to both feminist politics and media studies. Submissions must go beyond mere description in order to be considered for publication in Commentary and Criticism.

Please submit contributions by 26 April 2019, via email to both Melanie Kennedy (mjk29@le.ac.uk) and Safiya Noble (safiya.noble@usc.edu).We also welcome questions and expressions of interest in advance of the deadline.

Submissions for Commentary and Criticism will not be correctly processed if submitted through via the Feminist Media Studies site, and should be emailed directly to Drs Kennedy and Noble using the email addresses above.

Please be sure to follow the Feminist Media Studies style and referencing guides, which can be found here.

CFP: ViewFinder — Theme on Masculinity

ViewFinder, the British Universities and Colleges Film and Video Council magazine is currently seeking submissions for our Summer Term issue which is themed on Masculinity.

The next issue is based on Masculinity – Exploring representations of gender, masculinity, male and female behaviour on film, television, radio and in education. From old patriarchy in the industry, to new forms of masculinity in the millennium, this issue aims to spotlight one of the more pressing identity issues of today.

Deadline for final draft submissions is end of April 2019.

Please send proposals asap to Kit at Learning On Screen:
kit@learningonscreen.ac.uk

ViewFinder is the specialist online magazine for Learning On Screen: The British Universities and Colleges Film and Video Council, dedicated to exploring the moving image and education.

CFP: Millennial Masculinities: Queers, Pimp Daddies and Lumbersexuals

Millennial Masculinities: Queers, Pimp Daddies and Lumbersexuals

Massey University, Wellington New Zealand

December 10-11 2019
Keynote Speakers

Christopher Breward, National Galleries of Scotland

Pamela Church Gibson, London College of Fashion, University of the Arts

Shaun Cole, Winchester School of Art, University of Southhampton

Andrew Reilly, University of Hawaii

Convenor

Vicki Karaminas, Massey University, New Zealand

In the age under the shadow of accused sexual predator Harvey Weinstein, Vladimir Putin’s hypermasculinity and conservative politician Donald Trump, the question of masculine identity looms as exigently as ever. While it is proper to identity construction of all kinds to question and deliberate upon what is constituted as desirable, it is now the sheer multiplicity of masculine identities, coupled with the reassertion of some of the less desirable, that makes this area of inquiry so rich, and so necessary.

Looking at the present inevitably involves combing the past: stylish types appeared in the West during the 19th century, such as the dandy or the restless bohemian, or postwar masculinities such as the beatnik hipster, the rebel, the hippie, or the playboy. The social and political upheavals of the 1960s (which includes Stonewall Riots in 1969) and beyond precipitated the so-called “crisis in masculinity” in which recourse to the age-old models of bold, straight, breadwinner was no longer the default model of what men ought to be. Gay and lesbian liberation, civil rights and the women’s movement placed normative masculinities on shaky ground. A confluence of a number of factors that had destabilised traditional, white middle-class, masculinity and gave rise to the men’s movement which contained branches that were masculine and pro-feminist. The emergence of the ‘New Man’ which was aided by the rise the retail sector and the style press, targeted affluent young male consumers and produced new kinds of images of men and their bodies in many cases reflective of by gay pornography.

By the 90s, this mediated ‘New Man’ had virtually disappeared and was replaced by the loutish New Lad. Labels come and go, and the beginning of the new millennium heralded the metrosexual, a consumer of luxury goods and cosmetics commensurate with any woman. In the new millennium, the effects of climate change and global warming, along with the sustainability and slow food movement, has produced new mediated masculinities, the repackaged urban hipster and his modern huntsman brother, the lumbersexual who has retreated back to nature. Masculinities are temporarily and spatially contingent and are embedded in culture, language and representation.

Yet the history of men’s fashion has tended to be the history of men’s fashion in the West. A history that prioritises European, rather than indigenous or non-western dress practices. Little attention has also been paid to the ways in which dress and appearance construct masculinities and connections with traditions in settler or colonised societies. This can be said of the Congo’s Sapeurs and the Death Metal Cowboys of Botswana where the dialectics between colonised/coloniser are complicated.

Millennial Masculinities is a two day interdisciplinary conference that explores the expression of masculinities through constructions of fashion, identity, style and appearance across the Arts and Humanities. Its areas of inquiry include cultural and gender theory, art history, fashion studies, film studies, literature, philosophy and sociology amongst others.

There will be the opportunity for papers to be published in a special issue of Critical Studies in Men’s Fashion, as well as the journals Film, Fashion and Consumption and the Journal of Asia Pacific Pop Culture.

Suggested topics include:

• Masculinities and cinema

• Representations of masculinity

• Masculinities and consumption

• Subcultural style

• Advertising men

• Queer film

• Men in uniforms

• Fashion film

• Celebrity men

• Indigenous male identities

• Fashion editorial

• Fetish men

• Hyper masculinities

• Reigning men in royalty

• Postcolonial masculinities

• Men in history

• Queer masculinities

• Minority/subaltern masculinities

• Drag kings/performativities of masculinities

• Technologies and masculinities

• Globalization and masculinities

• Contested masculinities

Submission Guidelines:

E-mail a 150-word abstract with title and a list of keywords, your name and contact details, institution/department, and a brief 3-5 sentence bio in one word doc.

Send paper abstracts with subject title Millennial Masculinities to Vicki Karaminas v.karaminas@massey.ac.nz

Important Dates:

Deadline for Submission of proposals: August 30, 2019

Notification of Acceptance: 15 September, 2019.

Dialogue with Filmmakers 2019: Jewel Maranan 

Jewel Maranan 
Dialogue with Filmmakers 2019: Jewel Maranan 
與紀錄片導演對話:珠慧瑪拉婻
Speaking for the silent from a small town near Manila
以影像展現菲律賓小鎮中的噤聲底層
Jewel Maranan is an independent documentary filmmaker and producer from the Philippines. She started working for independent documentaries in 2008, tackling conflict situations in Manila. Throughout the years, she has developed a deep interest in the ways by which history inches through ordinary life. Jewel is an active participant in efforts to help develop Southeast Asian documentary through the SEA DocNet, a network of documentary professionals in Southeast Asia.
Her 2011 production TONDO, BELOVED: TO WHAT ARE THE POOR BORN? is a geopolitical exploration of life before birth in the smallest home in the seams of Manila’s premier international port. 6 years later, Jewel fixed her critical eye on the lives in the shadow of Tondo’s ever-engulfing port and finished her latest work IN THE CLAWS OF A CENTURY WANTING (official selection to 43rd Hong Kong International Film Festival). It is a filmic symphony of increasing everyday violence in the aspiration for a global city.
菲律賓獨立紀錄片導演及製作人珠慧瑪拉婻,2008年起從事獨立紀錄片工作,關注馬尼拉社會中所發生的衝突事件。多年來,她對歷史如何漸次地影響人們日常生活產生濃厚興趣。她亦致力發展東南亞紀錄片,積極參與由歌德學院所創立的SEA DocNet,透過此協助紀錄片工作者的網絡,鼓勵多元創作、挖掘被遺忘的當地文化。
2011年作品《貧者為誰而生》展現馬尼拉湯都的兩個平行時空:全球化下的繁忙貨櫃港口,以及港口邊緣掙扎於生存線上的棚屋人家。六年後她再次以貼近局內人的視角潛行湯都貨櫃區,完成《魔爪下的日與夜》,入選本屆香港國際電影節。菲律賓官僚於火災後劃定十米遷移線,離地政策令居民不屈發聲。藉着捕捉四個貧窮家庭的生活,瑪拉婻除了展示生死相接之日常,更提問湯都主權誰屬。她對生態的敏感觀察,有層次地介入天地意象,識穿全球化反自然而行的昇平謊話。
Date: Thursday 21 March, 2019
Time: 7:30pm
Venue: Studio Room 303, Chong Yuet Ming Cultural Centre, The University of Hong Kong
Guest Speaker: Ms. Jewel Maranan
Moderator: Ms. Ruby Yang (Project Director of Hong Kong Documentary Initiative)
Language: Lecture in English
Registration: http://bit.ly/2GKsL1y
Dialogue with Filmmakers 2019: Programme Details

Call For Entries: 51st Directors’ Fortnight May 15-25, 2019 

51st Directors’ Fortnight May 15-25, 2019
The Directors’ Fortnight is organised by the French Directors’ Guild

Submissions 2019
CALL FOR ENTRIES IS NOW OPEN

Entry deadline for Feature films: March 29, 2019.
Entry deadline for Short and medium length films: March 15, 2019.

Feature films must be received no later than April 7, 2019.
Short and medium length films must be received no later than March 15, 2019.

ELIGIBILITY CRITERIA

Films must have been made during the 12 months preceding the 2019 Cannes film festival.
With the exception of foreign films in their country of origin, they should not have been presented at any international festival or film event (except in the context of a film market).
Films must not have been shown on the Internet or broadcasted on TV or commercially released in France.
Please visit the festival website for more details:
http://www.quinzaine-realisateurs.com/en

For any queries, please contact:
ddcunha@quinzaine-realisateurs.com or deepti.dcunha@gmail.com

Call For Entries: Hong Kong International Documentary Festival

Visible cover.jpg

Call For Entries(Deadline:May 10th, 2019)

Introduction
Visible Record’s Hong Kong International Documentary Festival will be held in September 2019. The Chinese Documentary Competition is now open to any documentary with Chinese subject matter.

Founded in 2004, Visible Record is a non-profit arts organisation, which has dedicated itself to promoting documentaries.

Entry requirements
1. Documentary films produced between 1 January 2017 and 10 May 2019.

2. Such films should contain no less than 50 percent of dialogue in Chinese (including dialects) or issues on Chinese societies.

3. Feature film: 60 minutes or above; Short film: 59 minutes or below.

Submission
Please fill in the application form which is on the webpage (www.visiblerecord.com/en/hkidf) before the deadline. Online screener of the film must be provided.

Format:
Names of the director(s), title and region(s) of the film should be stated on the webpage / file name of the screener.
It is preferred that films submitted via online screener be available for the jury to download.
Subtitles:
i. Online screeners should include Chinese or English subtitles.

ii. Finalist films should include both Chinese and English subtitles.

Contact
Visible Record
Address: Flat B, 2/F, Wing Shun Building, 64-66 Bonham Strand West, Sheung Wan, Hong Kong
Tel: (852) 2540 7859
Email: visiblerecord@gmail.com
Fax: (852) 2547 7942
Website: www.hkidf.org

現正接受報名
(截止日期:2019年5月10日)
簡介
由「采風電影」舉辦的「香港國際紀錄片節2019」將於九月舉行,影展中的「華語紀錄片競賽」單元,現正公開徵片,誠邀世界各地以華人為主題之作品報名,比賽結果將在影展頒獎禮上公佈。

「香港國際紀錄片節」前身為「華語紀錄片節」,自2008年創立,迄今已舉辦十一屆。為推動香港紀錄片文化進一步發展,今年影展升格為國際紀錄片節,除了「華語紀錄片競賽」單元外,亦增加一系列的國際作品,希望令影展更多元化,亦藉此擴闊觀眾視野。

「采風」於2004年成立,為香港藝術發展局資助之非牟利團體,多年來致力推廣紀錄片藝術。

參加資格
2017年1月1日至2019年5月10日期間完成之紀錄片作品。
全片百分之五十或以上對白為華語(包括方言)或以華人為題。
長片組:60分鐘或以上;短片組:59分鐘或以下。
參加辦法
請填妥網上之參賽表格(www.visiblerecord.com/zh-hant/hkidf),並連同參賽作品的網上預覽連結(連同密碼),於截止日期前,透過網上平台遞交。

格式:

請於預覽頁面清楚列明參賽者姓名、作品名稱及地區。
建議影片可供下載,以供節目部職員觀看。
字幕:
預覽影片須附中文或英文字幕
入圍影片須附中英文雙語字幕
聯絡
采風電影有限公司
地址:香港上環文咸西街64-66號永順大廈2樓B座
電話:(852) 2540 7859
電郵:visiblerecord@gmail.com
傳真:(852) 2547 7942
網站:www.hkidf.org

Screening: Like an abortion, for the very first time (2018)

Like an abortion cover

March Screening
Like an abortion, for the very first time
Documentary|102’| Chinese & English subtitles|2018|Hong Kong

The 79 day long occupation by the 2014 Umbrella Movement was a process pregnant with hope to change the fate of Hong Kong and steer it towards democracy. This process had a bright side: most of it’s so called beautiful scenes occurred in the relatively upper class Admiralty district…
But the people in this film come from elsewhere: Mongkok, a place with a vigorous darkness. Sifu (the master), Tou-dai-zai (the boy), and their friends were humble participants in the movement. They were simultaneously volunteers, designers, labourers, and residents, who constructed shelters for the people at the Mongkok occupation site. This story is their portrait…

After screening talk with Bryan Chang (Film critics), Jojo Cheng (Documentary filmmaker) & Liu To (Director of the film)

15 March (Friday) 7:30PM
Film Culture Centre
Address:
Flat A2, 4/F, Acro Industrial Building, 19 Yuk Yat Street, To Kwa Wan, KLN, H.K.

*Pay what you want

RSVP: https://goo.gl/forms/aCLhVCEF7DTXuG0p2

三 月 放 映
扯旗﹑我要真普選和…… (又名:六點)
紀錄|102分鐘| 中英文字幕|2018| 香港

佔領中環沒有發生過,起碼沒有在2014年發生。佔領金鐘是光鮮的;佔領旺角是黑色的。這是一個為旺角及她的黑色發聲的故事。也許也沒有為她或黑色發聲,只是敍述有點黑色,連「我要真普選」都要調戲一番。另一邊廂,又情深款款地把改變香港前途的希望,比喻為懷孕的生命。
「扯旗」是故事主人公做過的動作,在這部電影中,並沒有揭竿起義的意思!畢竟2014年的香港人,只不過是睡在街道上來爭取真普選。感謝旺角傳奇人物畫家潘先生,為這部電影最重要的動作――搭建天幕,命名為「扯旗」。對了,故事的主人公,其實是這些在旺角佔領區搭建天幕的人:師父、徒弟仔和他們一眾的朋友。

映後討論主持:
張偉雄(影評人)
映後討論嘉賓:
鄭藹如(紀錄片導演)、廖韜 (本片導演)

三月十五日 (星期五)
晚上七點半
場地:電影文化中心
地址:香港九龍土瓜灣旭日街19號雅高工業大樓4樓A2室

*門票自由定價

活動登記:https://goo.gl/forms/aCLhVCEF7DTXuG0p2