SEADoc: Reflecting Singapore through Documentary
Talking about Southeast Asia is always linked to their histories as colonial countries. Known as the newly discovered world, Southeast Asia is considered as a new ground to be explored. Singapore is one of them. In their 51 years of independence, Singapore has now become a mecca of modernity by its fellow Southeast Asian countries that experience colonialism in other forms.
This time SEADoc Program is in collaboration with Asian Film Archive (AFA). Trying to read Singapore sequentially, following this small country of Malay Peninsula’s transformation which known as the most developed republic in Southeast Asia. Singapore’s development can not be separated from series of its ethnic, social, and sectarian conflicts. SEADoc summarizes it all in four films that represent Singapore’s transformation and problems that follow since the government of Lee Kwan Yew till future reading.
Song We Sangs ( Eva Tang, 2016) pictures how local cultures ruled out. Chinese Culture were once regarded as one of the local culture of Singapore began to be replaced and consumed by trends dan how English has become a benchmark of one’s development. This film used Chinese folk music as its entrance, represent older generation’s nostalgia that ever bask in the glory of Chinese music.
Communism has its own story in Singaporean history. In the subtitution of government from Lee Kwan Yew to his son in 1987. 1987: Untracing the Conspiracy (Jason Soo, 2015) recorded the recognition of several people accused of belonging to the Marxist group which later undergo physical abuse and terror afterward.
Urban life of Singapore now is become modernity reference by its fellow Southeast Asian countries, including Indonesia. Its rapid development and high buildings reflects the grandeur of Singapore. 03-FLATS (Lei Yuan Bin, 2015) captures the movement of Singaporean urban life from the constructions of flats as a mark of modern life by their government since 60s. Beyond the walls of the flats, the film records relationship between its subjects, three of them being a woman, as a modern human-being.
Trying to see the future of Singapore in 2066, Snakeskin (Daniel Hui, 2014) tried to read the complexity of Singapore with its different ethnicity, social taboos that live in the society, and dissipating humanity under the lulls of modernity.
As a part of 15th FFD Program Parsial, SEADoc films screening will be held on December 7-10. [Ellyta Rahmayandi]
For further schedule can be accessed here