Search Results for: momo film co

The Short Film Forum, part of the Objectifs Short Film Incubator 2021, saw film-makers and film-lovers from all over Southeast Asia tune in to a packed weekend of free online …
Read More

“Simultaneously touted as the crime capital as well as the tourist capital of Australia, the South Coast was a straggly and dangerous strip of coastline that was renamed to Gold Coast by real estate developers in an effort to seduce investors, retirees and holiday-makers. In a huge push to attract potential home owners through the 60’s and 70’s, a vast network of canals was constructed to provide for waterfront homes, complete with an unexpectedly large population of bull sharks that lurk in the shallow depths. This relationship between selling the idea of the perfect home and pervading danger is evident in the local news, that fluctuates between million dollar listings and tales of sleaze and murder. State Government corruption and unethical business practices through the 80’s and property scams in the 90’s cemented the Gold Coast as the perfect place for Australians of ill repute to come and reinvent themselves.

I lived in this city for 17 years and in that time, my friends and I were witnesses to a range of crimes from rape to stabbings in a ubiquitous background of racism, illegal drugs, extortion, boats and mansions. The insidious nature of this city was not in the rocketing crime rate that graces the newspaper on a daily basis, but in the aesthetics of an upwardly mobile and predominantly Anglo-Saxon community in combination with sunshine and kilometers of sandy beach, leading to a blanket denial of its residents to confront the reality of the environment they live in.

In the same way that we have icons of danger (broken windows, public housing), we also have icons of safety (swimming pools, perfect lawns). The Gold Coast exemplifies how powerful these icons can be in insulating our opinions from our knowledge of what we know to be true. It manifests a mentality that confirms one’s security based on superficial checkpoints that have been identified by contemporary consumerist values. Everything will be ok so long as it looks ok, no matter the proof of things rotting from the inside.

This series of images was made on the premise that environments of safety and danger cannot be delineated by weather and architecture. “A sunny place for shady people”, the Gold Coast became known as a perfect strip of golden beach where execution style shootings at the local mall were whispered behind pastel colored walls and porcelain veneers. This is a tale about a place that laid the flawed foundation of its character upon a mirage of tranquility. It is about the price of sun drenched afternoons hashtagged “grateful”. It is about our perceptions of safety and danger within the architecture of our built environment. It is about real estate and the beautiful lie bought and sold here every day.”

— Ying Ang on Gold Coast

As seen in:
LensCulture
Time Lightbox

About Ying Ang

Based in Melbourne, Australia, Ying Ang is an established photographer and author with extensive international exhibition history and has worked with The New York Times, The Atlantic, Wall Street Journal, Time, Vice, Huck, Wallpaper, The Fader magazines, Lucasfilm and AirBnB. She graduated as valedictorian in the 2009-2010 class of Documentary Photography and Photojournalism at The International Centre of Photography, with a subsequent award and portfolio acquisition for the permanent collection of the Sagamihara City Museum in Japan.

Her first artist book, Gold Coast, won the New York Photo Festival and Encontros Da Imagem book prize for 2014, was a finalist for Australian Photobook of the Year, the CREATE Award, the Guernsey Photography Festival Prize for 2015 and acquired for the Rare Books Collection at the Victorian State Library. Gold Coast was also honoured with a nomination for the prestigious Prix Pictet award.

In 2019, her latest work, The Quickening (FKA Bower Bird Blues), was a Vevey Images Grand Prix finalist in Switzerland, honorably mentioned in the Julia Margaret Cameron Award, winner of the 2020 BIFA Documentary Photo Book Prize, finalist for the 2020 Lucie Foundation Prototype Photo Book Award and the PHOTO 2021 International Photobook Prize. The project was exhibited in a solo show during Rencontres d’Arles in France in 2019.

Read More

The Objectifs Short Film Incubator is an initiative presented by Objectifs that focuses on developing short film scripts. The programme is open to Southeast Asian filmmakers working with moving images, …
Read More

Stories That Matter is an annual documentary programme by Objectifs that looks at critical issues and the possibilities of non-fiction visual storytelling. The theme for 2021 was Mediation/Circulation, which looked …
Read More

The second Objectifs Film Club session of 2021, presented in collaboration with Freedomfilmfest Singapore, featured Singaporean filmmaker Jessica Lee discussing her short documentary The Shades of Love, on the loves, lives …
Read More

Objectifs Film Club: Shireen Seno and Yosep Anggi Noen Held in conjunction with the Objectifs Short Film Incubator 2021 Sat 3 Jul, 2pm – 3pm (SGT) This event will be …
Read More

Objectifs Film Club: The Shades of Love by Jessica Lee In collaboration with FreedomFilmFest Sg. Thu 29 Apr 2021, 7.30pm to 8.30pm (Singapore Time) This event will be held online, via Zoom. …
Read More

The first Objectifs Film Club session of 2021 featured Singaporean filmmaker Liao Jiekai in conversation with artist Yanyun Chen about their collaboration on The Drawing Room & Episodes from Art …
Read More

In 1926, an enterprising young man enthusiastically brought into Singapore the idea of showcasing the life of the people in British Malaya – by way of a movie. His name was Liu Beijin. The uncle of the eminent local artist Liu Kang, the former Muar resident set up an office in Chinatown and a film studio in Katong, hired his crew and cast members, and began production. The result was Xin Ke, a full-length silent film, released in 1927, about a young Chinese immigrant who seeks his fortunes in Malaya. Assisted by his wealthy Peranakan relatives, he eventually finds a job in Singapore – and a girl he loves. In this bilingual book, film researchers Jan Uhde, Yvonne Ng Uhde and Toh Hun Ping travel back in time to the beginning of film production in Singapore. Reproducing the original movie script in full, accompanied by finely drawn illustrations by Dan Wong, this book is a much-needed addition to our film industry’s collective memory.

About Yvonne Ng Uhde 

Yvonne Ng Uhde is an independent film researcher. She has contributed numerous essays and opinion pieces to books and periodicals in Canada, the United States, Europe, and Singapore. She is the co-author of Latent Images: Film in Singapore.

About Jan Uhde
Jan Uhde is Professor Emeritus (Film Studies) at the University of Waterloo, Ontario, Canada. He founded a Bachelor’s programme in Film Studies at the Department of Fine Arts, where he taught for over four decades. He wrote Vision and Persistence: Twenty Years of the Ontario Film Institute and co-wrote Latent Images: Film in Singapore.

About Toh Hun PIng
Toh Hun PIng is a visual artist, filmmaker and film researcher. He has developed video works and short films involving various forms of image manipulation. His works have been screened at international experimental film festivals. He also runs the Singapore Film Locations Archive, a video collection of films made in Singapore.

About Lucien Low
Lucien Low is a bilingual translation editor with postgraduate qualifications in both publishing and English/Chinese translation. He recently edited the Chinese translation in The Little Red Dot and co-edited Great Lengths: Singapore’s Swimming Pools.

About Jocelyn Lau
Jocelyn Lau is an editor with postgraduate qualifications in publishing. She draws on 20 years’ experience in managing and editing a broad range of genres, including academic texts, coffee table books, travel guides, fiction titles and magazines. She edited Latent Images: Film in Singapore (Oxford University Press) in 2000.

About Dan Wong
Dan Wong is a commercial illustrator and digital artist. His personal art is centred heavily on social, political and cultural affairs. He heads the art collective A Good Citizen. Together with fellow illustrators Brenna Tan, Kimberly Teo, Su Qin and Melinda Chong, Wong produced the drawings in this book.
Read More

The Objectifs Short Film Incubator is an initiative presented by Objectifs that focuses on developing short film scripts. The programme is open to Southeast Asian filmmakers working with moving images, …
Read More