Image Movement: Photography in Film with Sam I-shan (Part 1)
Image Movement: Photography in Film by Sam I-shan, curator from Singapore.
What is the relationship between film and photography? One seems to be about stillness and composition, and the other about movement and montage. Both deal with time, truth, archive, and materiality in different ways. Taking place during the opening week of Photo Phnom Penh 2022, this two-part programme highlights short films and videos selected by Sam I-shan, that explore different aspects of the photographic image and process. Featuring artists from France, Iran, Philippines, Taiwan, Thailand, Vietnam and Singapore, each of the screening sessions will be followed by a Q&A and audience discussion about the respective films and the artists’ practice.
Institut Français Cinema
Monday 24 October 2022, 6:30pm
-Auxiliary Mirrors, Sanaz SOHRABI, Iran, 2016, 12:07 mins.
This essay film explores how the meaning of images change as they circulate, from Zinedine Zidane’s 2006 headbutt to 19thC photographs of the Persian royal court.
-La Jetée. Chris MARKER, France, 1962, 28 mins.
A man is forced to travel through time by scientists to “rescue the present” from the past and future. This poetic and influential film is assembled from black and white photographs.
Image Movement: Photography in film with Sam I-shan (Part 2)
Image Movement: Photography in Film by Sam I-shan, curator from Singapore.
What is the relationship between film and photography? One seems to be about stillness and composition, and the other about movement and montage. Both deal with time, truth, archive, and materiality in different ways. Taking place during the opening week of Photo Phnom Penh 2022, this two-part programme highlights short films and videos selected by Sam I-shan, that explore different aspects of the photographic image and process. Featuring artists from France, Iran, Philippines, Taiwan, Thailand, Vietnam and Singapore, each of the screening sessions will be followed by a Q&A and audience discussion about the respective films and the artists’ practice.
Java Creative Café TTP
Sunday 30 October 2022, 6:30pm
-I Am Still Here. Sissi KAPLAN, Vivian WANG, Cyril WONG, Hong Kong/ Switzerland/ Singapore, 2020, 11:43 mins.
This collaboration between an artist, musician and poet combines found footage from a nature documentary with photographic self-portraits in a remote landscape.
-Cartographer Mapping Scarscapes #1, TOH Hun Ping, Singapore, 2005, 5 mins.
When photos of a trip to Cambodia turned out blank, the artist scratched in new images on the analogue film to create an abstract stop-motion work on loss and memory.
-Landscape Series No. 1, NGUYEN Trinh Thi, Vietnam, 2013, 4:55 mins.
Created from photojournalistic images of anonymous people pointing at unknown objects in the Vietnamese landscape, this film asserts their presence as silent witnesses to history.
-The 561st Hour of Occupation, YUAN Goang-Ming, Taiwan, 2014, 6 mins.
Capturing the aftermath of a 585-hour long protest in the legislative chambers of parliament, this film uses different compositional techniques to consider the political pasts and future of Taiwan.
-Destination Nowhere, Prapat JIWARANGSAN, Thailand, 2019, 7:19 mins.
The marking and manipulation of photographic negatives evokes the struggles of a young man born in Japan to an illegal immigrant from Thailand, as he navigates immigration policies.
-To Pick A Flower, Shireen SENO, Philippines, 2021, 17 mins.
This essay film uses archival photographs of a lumber town in the Philippines during the American colonial era to explore intersections between photography, nature and colonial capitalism.
