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Archive for March 2007

Barcelona

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By Albert Serra

Barcelona es la ciudad en la que vivo y a la que debo la mitad exacta de mi formación, pero no la amo. Nunca he sentido nada por ella; como a una amante con la que sólo buscamos el placer egoísta, la utilizo. La usé hace tiempo, me fue útil, pero cuando me cansé de ella, cuando apareció otra, la tiré. Sigo viviendo en Barcelona por razones prácticas (porque mi padre tiene un apartamento allí y me deja viví en él), como un matrimonio que no se quiere pero no se separa por comodidad.

He amado con todo mi corazón Roma, la ciudad de mi vida, y después Nueva York; también Nápoles, sin haber estado nunca allí, significa mucho en mi vida. Son estas ciudades y, sobretodo, su imaginario de las que yo debería hablar en este artículo, y no Bacelona, ¿alguien puede realmente “amar” Barcelona?
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Written by Nika Bohinc

March 16, 2007 at 1:32 pm

A Malaysian Renaissance

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By Benjamin McKay

The recent success of Malaysian films on the international festival circuit comes as no surprise to those of us who have been watching the recent independent films emanating from Kuala Lumpur and supporting their development over the past seven years or so. A small but dynamic burgeoning independent film culture exists now in the Malaysian capital and the other film cultures of Southeast Asia have begun to take an active interest in developments in new Malaysian cinema. With Tan Chui Mui’s recent success at Pusan and Rotterdam for Love Conquers All (2006) and the award of the International Jury Prize in Berlin to Yasmin Ahmad’s Mukhsin (2006) it seems the world has finally realized the value of the work being produced in Malaysia.

The independent film community in Kuala Lumpur works parallel alongside an existing and long established mainstream commercial film industry. The Malaysian mainstream has however rarely in the past forty years or so managed to make much of an impact outside of its own national borders. Producing Malay language films and featuring largely Malay performers and storylines these films often ignore the cultural, ethnic, religious and linguistic diversity that is a feature of plural Malaysian society. The mainstream cinema is an ethnic rather national cinema. The emerging independent film culture challenges that narrowness by embracing the diversity of the society that is producing it.

The Malay language film industry does however have an impressive lineage born out of a studio based production culture that was largely centered in the city of Singapore. Singapore was a part of the British colonially controlled larger Malay world until it became an independent city state in 1965. The first screenings of films commenced in what was then Malaya in 1901 and the region has consistently had some of the largest cinema attendance figures in the world since those days. Local productions in the Malay language began being produced during the 1930s. Production stopped during the years of the Japanese occupation, but commenced again in the post war era after 1947.
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Written by Nika Bohinc

March 3, 2007 at 7:03 pm

Posted in English, Mirror