Arts & Culture
A signal to exercise the inalienable rights of free citizens despite the threat of ISA and the law
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by Christopher Tremewan
Two of the Singapore regime’s greatest achievements are the Pavlovian concept of citizenship and the disguise of its daily operation through the petitionary politics of a neutered citizenry. The art of government lies in preventing collective action unsanctioned by the state, controlling not only the economy through far-reaching state capitalism but also monopolizing social space, what people can do and say in the workplace, in their communities and in their homes. This has succeeded in preventing the emergence of a free citizenry, degrading Singaporeans to economic digits responsive to incentives and disincentives. What may have begun in 1959 with a ruling party committed to a fairer society has now morphed into an immoveable regime convinced of its superior wisdom and implacably determined to hold on to absolute power.
This inflexibility is a very deep weakness that is increasingly exhibited through an inability to respond to the changed circumstances of an economic strategy that is now failing. It is also seen in administrative incompetence, a vindictive political culture making full use of media control and the internal security police, an ideological aversion to addressing social inequality even though the means to do so are easily to hand, and a demeaning dependence on foreign money and foreign labour.
Signs of this weakness have most visibly surfaced periodically through repressive acts that are far beyond what any ruling party needs to do to maintain its monopoly on power.
Thirty years ago, in a carefully calibrated act of political cruelty, the regime incarcerated without trial a new generation of intellectuals, lawyers, church workers, social activists, dramatists and students. In other words, the ruling party attacked the cultural and moral development of the nation, slicing it off at the knees. It achieved its objective of wrecking the lives of those arrested, a majority of them were women, and truncating their contribution to their own society. Success could also be claimed for the main objective: insertion of the fear of unrestrained executive power deep into the populace, scorching for decades the growth of social imagination and community solidarity.
This book, “1987 – Singapore’s Marxist Conspiracy 30 Years On” tells the poignant stories of 1987.
Some may discount it as the self-indulgent reflections of a defeated generation. They would be wrong.
This book is a portal to Singapore’s soul, to the human spirit that can be suppressed or manipulated but never defeated. It is also a signal to the current generation of the task to be completed: to exercise the inalienable rights of free citizens even while the Internal Security Act and the legal apparatus denies them.
The book also provides a kind of social media map of all those who played along with the defenestration of the innocents. Many of these collaborators with state repression are in positions of public influence and private wealth, some expressing private sympathy while maintaining public loyalty to the regime. Paradoxically, mired as they are in moral compromise, they are less free and possibly more fearful than those who were detained in 1987 and now speak with clear voices.
Singapore’s future will be the outcome of a contest between an administration which has big data reaching into every aspect of people’s lives and the upwelling pressure from social inequality. Will a free citizenry emerge to challenge rule by the algorithms of a wealthy elite?
Christopher Tremewan is a Research Fellow in Political Studies at the University of Auckland
Note: in 1987 the reviewer, while undertaking doctoral research at The University of Canterbury, New Zealand, was part of a human rights campaign to urge the release of those detained without trial under the Internal Security Act in Singapore (see pp. 150-4 of the book under review). While at St Antony’s College, Oxford University, he then wrote The Political Economy of Social Control in Singapore published by the St Antony’s-Macmillan Series in 1994 and reprinted in 1996 with St Martin’s Press, New York (see p. 110 of the book under review).
“1987 – Singapore’s Marxist Conspiracy 30 Years On”, (Chng Suan Tze, Low Yit Leng, Teo Soh Lung (eds) (Singapore: Function 8 Ltd) 2017. ISBN 978-981-11-3136-3)
Survivors of Operation Spectrum—the alleged Marxist conspiracy—speak up in this volume. For many of them, this is the first time that they cast their minds back to 1987 and try to make sense of the incident. What they did in that period was meaningful and totally legitimate. Their families and friends share the same view.
The detainees were subjected to ill-treatment, humiliation, and manipulated television appearances. Under duress, and threatened with indefinite imprisonment without trial, they had to make statutory declarations against their will.
It is hoped that with this publication (which has more than 35 contributors), Singaporeans will know about what actually happened and decide for themselves if there was a national security threat that necessitated the mounting of Operation Spectrum.
For general & sales enquiries, please contact:
CJ Wee or Chan Wai Han, tel: 6659 1749, emails: [email protected], [email protected]
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Arts & Culture
2024 Golden Horse Film Project Promotion unveils 63 selected projects, celebrating global creativity and innovation
The 2024 Golden Horse Film Project Promotion has unveiled 63 selected projects, featuring a diverse array of genres and international collaborations. With 38 films in development, 13 in progress, and 12 series, this year’s lineup highlights innovative storytelling and global creativity.
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The Golden Horse Film Project Promotion (FPP), a prestigious platform dedicated to nurturing emerging talent and fostering international collaboration, has revealed its 2024 project lineup.
This year, the event will showcase 63 selected projects, including 38 Film in Development (FPP), 13 Work-in-Progress (WIP), and 12 Series selections. These projects represent a diverse array of genres, styles, and creative visions, underscoring the dynamic and evolving landscape of Asian and global cinema.
Diverse and Cutting-Edge Filmmakers Dominate FPP Selections
The 38 projects selected for the FPP section reflect a broad spectrum of themes, with many films pushing the boundaries of traditional storytelling.
This year’s selections include works from acclaimed filmmakers, many of whom have previously been recognized by the Golden Horse Awards. These projects promise to bring fresh perspectives and innovative approaches to the big screen.
Among the standout selections is “Wake Me Up When the Mourning Ends,” directed by LAU Kok-rui, who won the Golden Horse Award for Best New Director with The Sunny Side of the Street.
This film is expected to deliver a poignant exploration of grief and healing. Another highlight is Water of Immortality, directed by LIN Chun-yang, known for Eye of the Storm. This film tells the touching story of sculptor HUANG Tu-shui and his wife, blending art, history, and personal struggle.
Venturing into the horror genre, The Room Raising Children’s Soul by CHANG Yao-sheng, director of A Leg, explores themes of revenge and the supernatural, promising to captivate audiences with its eerie narrative.
LOU Yi-an’s Snake in the Dreamscapes combines elements of history, suspense, and politics, weaving a complex tale where three past-life dreams unravel three murder mysteries. WANG I-fan’s The Cat out of the Bag, with its violent aesthetics and revenge-driven plot, is set to be another visually striking addition to this year’s lineup.
Comedy also plays a significant role in this year’s FPP selections. God’s Lie in the Wonderland by veteran Hong Kong producer Roger LEE and director Kris LI uses a bizarre aquatic monster as a metaphor for the absurdities of real estate economics, offering a satirical take on modern society. Grannies Revenge by HSIEH Pei-ju, known for Heavy Craving, introduces a “women’s avengers” squad of grandmothers seeking justice against their unscrupulous husbands, promising both humor and empowerment.
Social issues are at the forefront of several FPP projects, often explored through the lenses of crime, thriller, and horror. Far End of Heaven by TSAO Jui-yuan, executive produced by Sylvia CHANG, follows the intense journey of a father and son on a wilderness escape, while Truth in Quarters by Boi KWONG, director of Geylang, delves into society’s interpretation of truth through a mysterious murder case.
The Day Before Tomorrow by LEE Yi-fang presents a suspenseful depiction of the immense pressure the education system imposes on students.
These selections not only reflect a deep engagement with contemporary issues but also highlight the diverse range of voices contributing to the cinematic landscape.
Films like Will You Please Reply, Please? by Jeffrey POON, which explores the disillusionment of post-1997 Hong Kong speculators, and Isolation by YU Chih-chieh, which uses a zombie crisis to comment on cross-strait tensions, illustrate how filmmakers are using genre cinema to address real-world anxieties.
The FPP lineup also includes historically inspired projects that offer authenticity and insight into significant events. LIFE DERAILED by CHAO Hsuan, for instance, explores the Puyuma train derailment accident, while He Sang a Dirge by Malaysian director LOH Din-yung exposes a scandal involving fake degrees and a corrupt tutoring empire in Malaysia.
Documentary filmmakers are well-represented in this year’s FPP section, tackling topics ranging from cultural identity to historical injustices.
The Songs from Within by Elvis LU focuses on the identity struggles of indigenous youth, while Exodus from China by LI Wei provides a poignant portrait of young people’s quest for freedom in the post-pandemic era.
Animated projects like Boy A-Nee-Gu Gets into Trouble Again! YA~ by Jack SHIH and The Dog That Lost His Home by CHEN Qiang add a unique visual element to the FPP selections, highlighting the versatility of animation as a medium for storytelling.
Emerging filmmakers are also making their mark with exciting new projects that reflect the evolving trends in global cinema. Japanese director NAKANISHI Mai’s Child, Uninvited uses suspense to explore societal pressures on women, while Indonesian director Jason ISKANDAR’s First Breath After Coma captures the turmoil of a fractured family against the backdrop of Indonesia’s 1990s regime change.
WIP Selections: A Glimpse into the Future of Cinema
The 13 projects selected for the WIP section offer a tantalizing glimpse into films that are currently in production but still seeking additional funding or collaboration opportunities. These films, which are already generating buzz within the industry, reflect the abundant creativity and diverse storytelling approaches that define this year’s Golden Horse FPP.
Among the highlights are Running Wild, a noir road film directed by WANG Yi-ling and executive produced by LIAO Ching-sung, and BLIND LOVE, directed by CHOU Mei-yu and starring Ariel LIN. These films promise to combine compelling narratives with strong visual storytelling.
Documentaries in the WIP section also stand out for their engagement with pressing social issues. One Day in the Future by JIANG Xuan-nian and JI Hang explores gender diversity and family dynamics, while A Thousand Winds by MOK Kawn-ling documents social movements in Hong Kong, providing a powerful commentary on contemporary struggles for freedom and justice.
Regional perspectives are again a key feature of the WIP selections, with projects like Malaysian filmmaker YEO Joon-han’s You Are Here and Singaporean director ANG Geck Geck Priscilla’s AH GIRL bringing unique cultural insights to the forefront. These films, along with others like Kong Tao, a horror film by Malaysian directors YONG Choon-lin and GOH Pei-chiek, emphasize the global nature of this year’s event.
Series Selections: Imagination Meets Reality
The Series section, now in its fifth year, continues to expand its scope with 12 projects that explore everything from fantasy and science fiction to crime, suspense, and drama. These selections are marked by their imaginative storytelling and bold narrative choices, reflecting the increasing convergence of television and cinema.
Fantasy and science fiction dominate several of this year’s Series selections. Super Cat, produced by HUANG Hsin-yao, deconstructs modern life through the surreal experiences of 10 delivery workers, while Survival Guide for Doomsday Kids by Kiwi CHOW presents a dystopian world where two siblings must navigate survival in the absence of adults. The blend of folklore, technology, and social commentary in Islanders, co-directed by YAO Hung-I, SHEN Ko-shang, and WU Mi-sen, promises to captivate audiences with its unique narrative approach.
Crime and suspense are also central to several Series projects, including The Fundamentals by YEO Siew-hua, which investigates the dark underbelly of a cult through a series of gruesome murders, and Godless by CHEN Kuan-chung, inspired by a real-life Taiwanese serial murder case. These projects highlight the versatility of the Series format in tackling complex themes and engaging viewers with gripping narratives.
Other notable Series selections delve into the world of medical professionals, sports, and jazz music. The Hand of God, from the creators of The Hospital, explores the high-stakes decisions faced by doctors, while Toh-kiu, directed by HUNG Tzu-peng, uses the drama of table tennis to examine the life lessons learned through competition. Jazzers by YAO Chiang, meanwhile, brings a unique animated twist to the world of music, portraying anthropomorphized musical instruments composing their symphonies in a world dominated by humans.
Looking Forward to the Golden Horse FPP Event
The 2024 Golden Horse Film Project Promotion will be held in Taipei from 18 to 20 November, culminating in an awards ceremony on 20 November. The event promises to be a celebration of creativity, innovation, and collaboration, bringing together filmmakers, producers, and industry professionals from around the world. With its diverse selections and strong emphasis on cross-cultural storytelling, this year’s FPP is set to be a highlight of the global film calendar, continuing the Golden Horse tradition of showcasing the best in contemporary cinema.
Arts & Culture
Beloved Singaporean actress Alice Ho Soon Kim, known for Mediacorp roles, dies at 72
Veteran Mediacorp actress Alice Ho Soon Kim, known for her roles in over 50 TV series, including “Beansprout Auntie” in “Holland V,” has passed away at 72.
She was also a dedicated qigong practitioner and co-founded the Qigong Shi Ba Shi Association Singapore.
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Veteran Mediacorp actress Alice Ho Soon Kim (何峋瑨), has passed away at the age of 72.
Ho, who appeared in over 50 television series, began her acting career with minor roles in local television shows starting in 1997.
One of her notable on-screen portrayals was the beloved character “Beansprout Auntie” in the 2003 show “Holland V”.
Her most recent television series was “The Sky is Still Blue” earlier this year.
In addition to her work as an actress, Ho was an active practitioner of qigong. In 1987, she co-founded the Qigong Shi Ba Shi Association Singapore to promote the sport locally.
She served as the chairman of the association for 31 years until she stepped down from her position two years ago to become a consultant.
On the association’s Facebook page, she was recognized as the chief trainer and actively participated in various qigong events.
Ho passed away on Sunday (9 Jul) due to a bacterial infection after undergoing uterine surgery, as reported by 8World News.
Shin Min Daily News (Shin Min) reported that During her funeral on Thursday, over 50 individuals performed a qigong routine to honor her.
Some of Ho’s former students created videos to commemorate her.
Her daughter shared with Shin Min that her mother was a cheerful person who had many friends.
Despite her busy schedule, Ho continued to teach qigong classes online even during the pandemic.
She mentioned that her mother had planned to travel to Japan at the end of July to participate in a qigong competition.
“Even though she had just undergone surgery, she believed she would have fully recovered within three weeks. She had an exceptional strength of will.”
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