Archived entries for WKWSCI Filament

Filament 2009 Poster and Brochure

Created a poster and brochure for Filament 2009: A Site for Home, the annual film showcase for graduating students of the Wee Kim Wee School of Communication and Information.

In this series, I wanted to experiment in typography by creating individual letters inspired by the filament of bulbs.

For the brochure, I chose to experiment with a folded brochure that also contained an A3 version of the poster when folded correctly. It was also printed on wood-free paper to give the washed out indie look instead of a glossy professional feel.

Size: A2 (Poster); Folded 4X4 (Brochure

Filament ’09: A look at this home

black-logo-2-webThe home, where we are most honest with ourselves, a place where we start and end our day, and a site where society’s larger issues play out in the most intimate of ways. This was what Filament ‘09: A Site For Home brought home with its collection of final-year films from the students of the Wee Kim Wee School of Communication and Information (WKWSCI).

For Rent, The Same Ties That Bind, The Funeral, 無蟹可擊 Crab! and The Healing Touch

The documentary For Rent brought us into the homes of the lesser known population of Singapore that live in rental flats. Over 80 per cent of Singaporeans live in public housing and this has always been touted as a success of the state in providing a roof and an asset for its citizens. But behind every gleaming upgraded facade in these featured Boon Keng flats we see how less fortunate Singaporeans squeeze themselves into one-room flats to enjoy public housing. Indeed, the image of home as a place of comfort is questioned when one sees how a family of twelve people into an apartment built for two and one is left to wonder what other stories could lie in the neighbouring units.

But a home is not just a physical entity, it is also a collection of relations between people. This is explored in The Same Ties That Bind, a documentary about the acceptance of gays by families. It advances the discourse about the controversial place of gays in Singapore right to the heart of things: family and religion. The interviewee’s frankness in front of the cameras makes it almost like post-dinner conversation, although in reality, would talking about gays in the family make it palatable? While the documentary take on religion is solely from the Christians’ perspective, with the recent AWARE saga it does gives this part of the film heightened relevance.

The issue of religion in family is also taken on by the drama, The FuneralThe death of a little brother prompts a debate between a Christian sister and a Taoist brother over how to settle the rites for his funeral. This piece is loaded with references for the film aficionado and its production is stellar, coming especially from students. It shows how a good drama can convey so much more than an objective documentary, but to do so, one has to be able to read the depth this film tries to provide. But in each scene, one can easily be overwhelmed with either how good the shot looks or what is going on. It felt like this was the “best of” compilation of a hour-long film and one just longed to have some dead space in between to reflect.

無蟹可擊 Crab!, is also another family drama, but a much more light-hearted one. Reminiscent of Channel 8 dramas, it follows the journey of how a son is tricked into taking over his family’s crab bee hoon business. The cast for the film are a host of familiar faces from television commercials and dramas that provide comfort for the viewer but they struggle to hold together a film whose script becomes predictable after a while. Like the crab bee hoon the lead cooks at the beginning, it’s a potentially great dish with good ingredients, but the chef still needs to improve on its cooking.

The same might be said of The Healing Touch, a documentary about Reiki healing, a spiritual approach to health. The film comes across as a very objective informercial rather than a partisan documentary. Ironically, the soothing voice-over and background track may only further discomfort the viewer who for most part of the film is extolled the benefits of this healing by Reiki practitioners. It becomes almost an afterthought when the documentary ends with a medical doctor and an academic weigingh in on the potential placebo effects of such healing.

做到老 Live. Work. Die., Trust, Make.Shift, LOL.SG and 家,不家 Home

Taking us out of the family and into the larger home of society, 做到老 Live. Work. Die., documents the quest of one elderly man to find a job in Singapore. This documentary takes on a Michael Moore-esque style where the filmmakers are very much visible — one of the producers stars in the film and there are scenes where the filmmakers sit together to discuss what to do next. Perhaps it was out of one of such discussions that this film was conceived and they set out to do it all in one day. The documentary does have the feel of a Michael Moore film but it lacks the thought. The former is professionally amateur but the latter is just amateur. Still, kudos should be given to a documentary that challenges the way this form is done locally.

The drama, Trust, touches on an issue that has only been recently introduced in Singapore: terrorism. This piece is heavily dependent on its actors carrying out a dialogue driven script but alas the actors do just a decent job and the film fails to live up to its potential. The camera work and the props in the film do little to mask this too. The ending may surprise some but by the time one gets there, the initial question of, what would you do, gets lost in a plot that tries to take on world domination but is just too big for it. 

While home is a permanent place for most of us, in Make.Shift we see how the business of night markets, popularly known as pasar malams in Singapore, are always on the move for a home. At 17 mins, one of the shortest films of the night, this documentary highlights a community that is well-known in the Singapore cityscape but just doesn’t bring it home. We hear a lot about the economic struggle of this industry, including an interesting juxtaposition of the in-fighting between the big players but one was left wondering: why should I care? Perhaps by overly-focusing on the economics of things, the soul of the pasar malam space, it’s myriad offerings of ordinary things, the sights, sounds and smells just got lost.

Similarly, LOL.SG, a documentary about the local comedy scene begs the question of why should I care. From start to almost end, one chuckles through the film and realises how difficult it is to do comedy here, but so what? This was enjoyable and novel because no one has taken a serious look at what’s funny here but one might just laugh it off without the context to make this an issue. What might also be worth looking at is non-English funny people too, after all, how many Singaporeans actually watch Channel 5 or stand-up comedy?

The search for home is taken to China in 家,不家 Home? where this documentary looks at the rebuilding efforts of survivors in Jinlong, Sichuan after the May 12 Earthquake last year. The stories are touching and what one would expect — uncertainty, red tape and struggles — but these are told to us by the survivors straight onto the camera. That is where one might lose the connect as one wished to see more of the disaster site to see how things were and could become.


The audience were also entertained at the beginning and intermission of the screening by post-, an audio project inspired by the students’ time at WKWSCI. A track that stuck was Everything At Once that seems like a perfect track to accompany a drive across the expressway on a rainy day — perhaps an ode to the long journey many of us take to school?

So for two nights, the Singapore Art Museum became a temporary home for the different generations of WKWSCI students: juniors awaiting to start on their final-year projects, current final-year students and seniors who returned to see how things were changing. An interesting note was that the theme, “A Site For Home” was never set out when the students began work on these final-year projects in August last year, but when they got together to organise Filament ‘09, it became apparent that almost all the films had, literally, come home.

DISCLAIMER: I am also a final-year student at WKWSCI and my group’s project Reclaim Land: The fight for space in Singapore was also featured in Filament ‘09. For objectivity sake I have left it out in this review.

Filament ’08

For the second year running, the graduating students of the Wee Kim Wee School of Communication and Information held Filament ’08, an annual showcase of the students’ audio and visual projects. Just a little history for the uninitiated, the school does not have a strong tradition of showcasing student’s works. Other than a public screening held some years ago, most final-year showcases have been small affairs held in the school’s auditorium and largely attended by its own students. It was only last year that the graduating batch decided to organise a screening of a grander scale to better promote themselves to the public as well as industry players.

This year’s projects were generally of a much higher quality and one reason for this could be the willingness to engage external help to give the films a more professional touch to it. This included hiring equipment instead of depending on what was available in school as well as engaging crew and talent from the growing film industry here. A good production needs more than the maximum number of four students allowed in a final year project so kudos goes to the graduating batch for looking beyond themselves and the school for help.

The strength of the school lies in the area of journalism so it was no surprise to me that the better films were documentaries. These were some the films that stuck on my mind for various reasons:

Health, Peace, Happines
This documentary followed the dying days of two ladies diagnosed with cancer. Its biggest selling point was that it was actually filmed during the dying days of the ladies so they really died. It had all the elements to tear-jerk the audience, even scenes at one of the ladies funeral, but this was also where I thought it was set up to exploit the situation they had access to. I did not come away learning anything more about cancer or these two ladies. From the beginning to the end, it was set up such that here are two people dying and here is how it is going to happen – dying is sad. It would be interesting to hear the film-makers talk about the ethical dilemmas they had to contend with and how much effect it had on the making of the film.

The documentary was about kidney trading in the Philippines was the gem of the first night of the screening. The interviewees were engaging and its environment very layered. It even had a dose of reality-tv in it when a scene of a patient going for his kidney removal operation was furtively filmed entirely by the patient’s friend because no filming was allowed in the hospital. Some might argue that this film works because the subject matter is “exotic” to us as an audience, and I would add that it lacked other voices as it only contained the voices of the people selling their kidneys. However, I’ve been told that there was just too much footage to fit in the 24-minute limit but a feature-length of this documentary was in the making.

Platform 1932
This was a nostalgia film about the Tanjong Pagar Railway Station and it being a “platform of memories” for its various users. While it was interesting to see how the lives of the railway personnel, former hotel owner, provision shop owner, railway enthusiasts and train users revolved around the station, a element totally left out of the film was its contentious place in the bilateral relations between Singapore and Malaysia. I thought this film had a lot more potential in connecting the people of these two countries if more attention was given to this aspect of the film. Alas, it went down a road of nostalgia, showing Singaporeans an interesting landmark that many might not be familiar with.

Love, Your Son
A very powerful film about the death penalty for drug trafficking in Singapore, this fictitious piece follows the live of a young Thai drug trafficker who writes letters to his mother while awaiting his turn to be hanged. The piece is set up to portray the drug trafficker as a victim of such a harsh policy and it even borrows a line from a similar film, “Dead Man Walking” to end it. This film did arouse me emotionally, but then I was left empty after, wondering “So what?”. I was disappointed that the film did not give me a hint of what to do but simply left me hanging, but maybe that was the point of the film?

This documentary attempts to trace how the common space of a void deck holds different functions and meanings to different Singaporeans. To me, it came across as a corporate video for “Uniquely Singapore” or HDB, because it had more beautiful shots than substance. At times, it felt like the film-makers simply spent their day at different HDB areas to shoot whatever they could find, not knowing what to look out for. To some, it worked because it was simply a snapshot of what happens in a day at your HDB void deck, but I thought it lacked something more that could hold these snapshots together.

I have to say again that this year’s works was probably one of the best I’ve seen so far. I only hope that the respective filmmakers will work hard to push their works to other platforms that can showcase their works to more people. There is good work coming out of the school but it just needs to be seen!

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