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Nationhood and history: An interview with Sandcastle director, Boo Junfeng

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Ho Rui An

Singaporean film director Boo Junfeng’s debut feature film Sandcastle has opened in local cinemas. The film, which opened in Singapore on 26 August 2010, made its world premiere at the Cannes Film Festival back in May. The film is the first local film to feature at the 49th International Critic’s Week.

The film, which has received favourable reviews, examines personal memory in connection with the broader historical amnesia afflicting Singapore. In the film, we follow the journey of eighteen-year-old En whose worldview becomes radically altered through a series of events. Amidst the taste of his first romance, the death of his grandfather, his grandmother’s worsening Alzheimer’s disease and his mother’s affair with an uptight military commander, he discovers his late father’s involvement in the 1956 Chinese middle school riots. Through this blend of coming-of-age and family drama with serious socio-political critique, we witness the ramifications of this silenced historical chapter playing within En and his family.

In this exclusive interview, we find out from the filmmaker the motivations behind the making of Sandcastle and his thoughts on nationhood and history.

Rui An: I’ve read that it was from observing your late grandmother’s dementia that you got the idea for the film. How did this notion of personal memory expand to take on the bigger issue that is Singapore’s historical amnesia?

Junfeng: I witnessed my grandmother’s memory deteriorating with dementia, how it turned her into a different person during her moments of delirium, and how it affected the dynamics of my family. The original story was aimed at addressing that pain, and the moral dilemmas associated with caring for an aged family member in Singapore. However, my grandmother passed away shortly after I had finished the first draft. While dealing with her demise, it felt impossible to continue with the original thread. I decided then to shift the focus thematically away from the illness and the pain it caused, to the idea of memory, and how transient and mutable both personal memory and social memory can be.

Rui An: What was some of the research you did into that period?

Junfeng: I first approached the subject matter quite innocently not knowing that it was such a taboo. Most of my research was based on materials I had found at the National Library and the National Archive. I had approached an elderly gentleman who was involved in the Chinese Middle School Protests in 1956. He turned down my request for an interview, but told me to refer to a few very useful publications at the National Library. I guess the biggest challenge was in getting people to speak to me. I was more interested to learn about the whys and hows, rather than the whats. I wanted to understand the motivations and emotions behind the events. How did the students feel? Why were their convictions so strong? How did they identify themselves?

Rui An: You were from Chung Cheng High School. Coincidentally, I was from Chinese High, the other school involved in the riots and I realised that even when we are revisiting our school history, that chapter is always glossed over. Most students today still appear to have many misconceptions towards this past. Do you feel the same sentiments?

Junfeng: Yes, we were taught that they were all “communists”. However, as we’ve now come to realise, with the many books that have been published lately, that that wasn’t necessarily the case. Beyond the labels, and what was or wasn’t, I was really more interested to understand what drove the students to protest, and why they were vilified in our textbooks. They were protesting against the government’s decision to abolish the Chinese 3-3 education system, and replacing it with the English 4-2 education system. They saw that as a form of imperialism, hence they protested. So, while they were left-leaning, they seemed more anti-colonial than anything else.

Rui An: Looking at the archive footage used in Sandcastle, I’m really reminded of Tan Pin Pin’s Invisible City. The footage is amazing and it’s a pity we see so little of them. Do you think we are doing enough with our film heritage?

Junfeng: Invisible City is one of my favourite Singapore films. The segment in it with Han Tan Juan walking around Chung Cheng High and narrating his side of the story was very intriguing to me. It was the side of the story I had never heard about, despite having been a student at Chung Cheng for four years. The photos and footage I found at the National Archive were a source of inspiration for me. They were eventually used in the film because they served a purpose in the story. As for the archival materials used in Invisible City – yes they are very precious, and I wish more of them can be seen and made public.

Rui An: You were also involved in NDP this year. And interestingly, we have a couple of National Day songs featured in Sandcastle, the most memorable being Home. How was it like working on Sandcastle and NDP?

Junfeng: I think there are many things about Singapore and being Singaporean that are worth celebrating. I wanted to make sure the multimedia of this year’s NDP was more reflective, rather than prescriptive. In many ways, Sandcastle, too, is a reflection. It is the journey of a boy who begins to reflect and question some of these national ideals.

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Indonesia

Miss Universe cuts ties with Indonesia chapter after harassment allegations

The Miss Universe Organization severs ties with Indonesia franchise due to harassment claims. Malaysia edition canceled.

Women allege body checks before pageant. Investigation launched. Safety prioritized.

Indonesia winner to compete in November finale. Height requirement controversy.

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WASHINGTON, UNITED STATES — The Miss Universe Organization has cut ties with its Indonesia franchise, it announced days after allegations of sexual harassment, and will cancel an upcoming Malaysia edition.

In the complaint, more than a half dozen women said all 30 finalists for Miss Universe Indonesia were unexpectedly asked to strip for a supposed body check for scars and cellulite two days before the pageant’s crowning ceremony in Jakarta.

Their lawyer said Tuesday that five of the women had their pictures taken.

“In light of what we have learned took place at Miss Universe Indonesia, it has become clear that this franchise has not lived up to our brand standards, ethics, or expectations,” the US-based Miss Universe Organization posted Saturday night on social media site X, formerly known as Twitter.

It said that it had “decided to terminate the relationship with its current franchise in Indonesia, PT Capella Swastika Karya, and its National Director, Poppy Capella.”

It thanked the contestants for their bravery in coming forward and added that “providing a safe place for women” was the organization’s priority.

Jakarta police spokesman Trunoyudo Wisnu Andiko said Tuesday that an investigation into the women’s complaint has been launched.

The Indonesia franchise also holds the license for Miss Universe Malaysia, where there will no longer be a competition this year, according to the New York-based parent organizer.

In a lengthy statement posted to Instagram, Indonesia franchise director Capella denied involvement in any body checks.

“I, as the National Director and as the owner of the Miss Universe Indonesia license, was not involved at all and have never known, ordered, requested or allowed anyone who played a role and participated in the process of organizing Miss Universe Indonesia 2023 to commit violence or sexual harassment through body checking,” she wrote.

She added that she is against “any form of violence or sexual harassment.”

The Jakarta competition was held from 29 July to 3 August to choose Indonesia’s representative to the 2023 Miss Universe contest, and was won by Fabienne Nicole Groeneveld.

Miss Universe said it would make arrangements for her to compete in the finale, scheduled for November in El Salvador.

This year’s Indonesia pageant also came under fire for announcing a “significant change in this (year’s) competition guidelines” with the elimination of its minimum height requirement after it had crowned a winner.

In its statement, the Miss Universe Organization said it wanted to “make it extremely clear that there are no measurements such as height, weight, or body dimensions required to join a Miss Universe pageant worldwide.”

— AFP

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Malaysia

A Perodua service centre in Kuantan, Malaysia went viral for its strict dress code, Perodua responds

A dress code for vehicle servicing? A Malaysian car brand’s service centre dress code signage has puzzled netizens, raising queries about the need for attire rules during a routine service.

The manufacturer responded with an official statement after a flurry of comments, seeking to clarify and apologize.

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MALAYSIA: A dress code signage positioned at a service centre belonging to a prominent Malaysian car brand has sparked bewilderment among Malaysian netizens, who question the necessity of adhering to attire guidelines for a simple vehicle servicing.

The signage explicitly delineates clothing items that are deemed unsuitable, including sleeveless tops, short skirts, abbreviated pants, and distressed jeans.

The car manufacturer swiftly found itself flooded with comments from both inquisitive and irked Malaysian netizens. This surge in online activity prompted the company to issue an official statement aimed at clarifying the situation and extending an apology.

In a post that gained significant traction on the social media platform, politician Quek Tai Seong of Pahang State, Malaysia, shared an image to Facebook on Monday (7 Aug).

The image showcased a dress code sign prominently displayed at a Perodua Service Centre in Kuantan. Within the post, Quek posed the question: “Is this dress code applicable nationwide, or is it specific to this branch?”

The signage reads, “All customers dealing with Perodua Service Kuantan 1, Semambu, are requested to dress modestly and appropriately.”

Adding visual clarity to these guidelines, the sign features illustrative graphics that explicitly outline clothing items deemed unacceptable, including sleeveless tops, short skirts, short pants, and ripped jeans.

Delineating the specifics of the dress code, the signage stipulates that male visitors are expected to don shirts accompanied by neckties, opt for long pants, and wear closed shoes.

Conversely, female visitors are advised to don long-sleeved shirts, full-length skirts, and closed-toe footwear.

Perodua’s dress code sparks online uproar

Following the rapid spread of the post, Perodua’s official Facebook page found itself inundated with comments from both intrigued and frustrated Malaysian netizens, all seeking clarifications about the newly surfaced dress code policy.

Amidst the flurry of comments, numerous incensed netizens posed pointed questions such as, “What is the rationale behind the introduction of such regulations by the management? We demand an explanation.”

Another netizen expressed their dissatisfaction, arguing against the necessity of the rule and urging Perodua to take inspiration from the practices of other 4S (Sales, Service, Spare Parts, and Survey) automotive dealerships.

A concerned Facebook user chimed in, advocating for a more lenient stance, asserting that attempting to dictate customers’ clothing choices might not be in the company’s best interest.

Someone also commented in an angry tone, “Oi what is this? Going there for car service, not interview or working, right.”

As the discourse unfolded, it became evident that while some inquiries carried genuine weight, others chose to inject humor into the situation, playfully remarking, “If I wanted to buy a Myvi, I should buy or rent a formal attire first.”

“I sell economy rice at a hawker centre, I have never worn a long sleeve shirt and a tie… I guess I will not buy a Perodua car then.”

“I guess they will not serve those who wear short pants.”

Perodua addresses dress code controversy

As reported by Chinese media outlet Sin Chew Daily News, the manager of Kuantan’s Perodua Service Centre had acknowledged that the images on the dress code signage were misleading.

In response, the manager divulged that discussions had transpired with the head office, leading to the prompt removal of the signage to prevent any further misconceptions.

The manager clarifies, “We do encourage visitors to adhere to the dress etiquette, but we won’t go to the extent of restricting their choice of attire.”

He also revealed that currently, no complaints have been directly received from the public.

However, feedback from certain customers was relayed through Perodua’s agents.

Perodua also released an official statement by chief operating officer JK Rozman Jaffar on Wednesday (9 Aug) regarding the dress code on their official Facebook page.

The statement stated the dress code etiquette is not aligned with their official guidelines and they are currently conducting an official investigation on the matter followed by corrective measures to avoid the same incident from happening.

Perodua also extends its apologies for any inconvenience caused.

 

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