A six month developmental platform for emerging film programmers

Deadline: Thursday, 29 Feb 2024 (2359H SGT)

The Film Programmers Lab is a new initiative presented by Objectifs and the Asian Film Archive. It is a 6-month developmental platform for emerging film programmers based in Singapore. Consisting of a series of workshops, closed-door consultations, and public talks, the programme will provide 4 selected participants with mentorship and a valuable support network. Selected participants will eventually curate and publicly present 2 film programmes at the end of the workshop.

The Film Programmers Lab will run from 30 March – 31 August 2024. 

Applicants must be committed to the entire duration and all sessions of the lab.

Applications will be assessed by Objectifs, Asian Film Archive and the programme’s mentor Hsu Fang-Tze.

Applications are now closed for this programme. 


Workshop Schedule (all timings are in GMT + 8, Singapore time)
Sat, 30 Mar (3 hours):
Thu, 4 Apr (2 hours):
Public talk – How To Conceptualise a Film Programme
Sat, 6 Apr (3 hours): Lecture and tour of Asian Film Archive
Thu, 11 Apr (1.5 hours): Public talk – Writing for Film Programmes
Thu, 18 Apr (3 hours): Understanding different types of moving image works + field trip
Sat, 20 Apr (2 hours): How to Develop Your Portfolio as a Programmer
Sat, 27 Apr (3 hours): Marketing and promoting film programmes
Sat, 4 May (3 hours): Bringing your ideas to life: the practicalities of presenting a film programme
Week of 6 May: Consultation week with mentor, Objectifs and AFA
Tue, 14 May: Finalising screening programmes
Jun – Jul: Preparation for screenings
Aug: Present screening programmes at Asian Film Archive and Objectifs


Hsu Fang-Tze
Hsu Fang-Tze is a curator at the Singapore Art Museum (SAM), with previous experience as a lecturer in the Department of Communications and New Media at the National University of Singapore (NUS) and a curator at the NUS Museum. Over the past decade, she has extended her expertise beyond academia, actively engaging as a curator, film programmer, and archivist. Her collaborative efforts with artists, art historians, and institutions have been the most important aspects for her in defining her practices. Her current research pursuits revolve around the nuanced exploration of sonic modernity, Cold War aesthetics, and the convergence of critical curation historiography with a decolonial pedagogical approach.

Supported by