“Camera and event. Since its invention, film has seemed destined to make history visible. It has been able to portray the past and stage the present. We have seen Napoleon on horseback and Lenin on the train. Film was possible because there was history. Almost imperceptibly, like moving forward on a Moebius strip, the side was flipped. We look on and have to think: if film is possible, then history too is possible.”
-- Harun Farocki; from voice-over in his work Videograms of a Revolution (1992); read in Thomas Elsaesser (ed.), Harun Farocki: Working on the Sight-lines (Amsterdam University Press, 2004), p. 260.
“Never does one open the discussion by coming right to the heart of the matter. For the heart of the matter is always somewhere else than where it is supposed to be. To allow it to emerge, people approach it indirectly...”
- Trinh T. Minh-ha, Women, Native, Other: Writing Postcoloniality and Feminism (Indiana University Press, 1989), p. 1.
-- 哈倫·法羅奇，紀錄片《Videograms of a Revolution》（1992）的一段畫外音
-- 鄭明河，《Women, Native, Other: Writing Postcoloniality and Feminism》（1989）序（首頁）。
7' 00" | 4:3 | 2020 | Digital HD Original Language : English 英文 Selected category:  NARRATION & MONSTRATION 「講述與示範」
Personal essay, Image technologies, Visual politics, Audiovisual poetry
個人的散文, 影像科技, 視覺政治, 聲影的詩
This video is a meditation on the respective temporalities of different image technologies.
Inventing a poetic path through images created with Louis Daguerre's centuries-old photographic device, 16mm film cameras, pixelated video games consoles, early smartphones and contemporary computer interfaces, the work asks: what aspects of reality have these different technologies been designed to document? What phenomenon, either too slow or too fast to be recorded, has escaped their capture? Are there still dimensions of our experience on Earth that have never been visually documented, and for which photographic technologies are yet to be invented?
An investigation of the explicit and unspoken ideologies encapsulated in technology, the video unfolds as a web of apparently unrelated stories, progressively revealing patterns of technologically-determined political erasure.
Chloé Galibert-Laîné is a French researcher and filmmaker, currently working as a postdoc at the HSLU in Switzerland. Her work takes different forms (texts, films, video installations and live performances) and explores the intersections between cinema and online media, with a particular interest for questions related to modes of spectatorship, gestures of appropriation and mediated memory. Her films are regularly screened at international film festivals, including FIDMarseille, Jihlava IDFF, True/False Festival, transmediale, Images Festival, EMAF, Kasseler Dokfest and Ars Electronica Festival. Recent grants and awards include an European Media Art Platform residency, an ‘Art of Nonfiction’ Grant from the Sundance Institute, a Research Grant from the Johannes Gutenberg University in Mainz, and the Eurimages Lab Project Award at the Karlovy Vary Film Festival.
WONG Fei-pang: I like the work being direct and handy. Narration and emotive expressions hang together giving a sense of wholesomeness. The thing I like about this work is that it's very restrained. The creator knows where to pause and not to go to excess.
WONG Chun-hoi: I like the way how things are interrelated. How the elements are interweaving.
Linda Lai: I like the work’s directness and rich layering. Rich and diverse media and nothing is extra just for being flashy. Just as the title says “long exposure, I feel like I can stay there forever. I think the elements of time as space matters, I like the experience.
Winnie Yan: It seems all the things we like are based on the artist’s observation - it feels complete and solid. And it didn't force the audience to view it from a distance.
John Chow: I liked it after the second viewing... It speaks at very slow pacing and yet tension sustains. It has the right tone and works well with the subject matter. Quite emotional ...
This video recorded my daily journey of returning home from school in 2015-2017.
I revisited the route and illustrated it with my parents’ voices built into this video essay.
My mother is a Vietnamese and I guess it is not what she said but rather the sound of the language itself that gives me a warm embrace and special calling.
Before I graduated from university, I wanted to make a video about my adolescent and young adult period, about my relationships with my family, schoolmates, friends and myself, and how all this shaped me. This video is a grand finale of that period and an encouragement to myself.
This video is just a part of the process of my self-acceptance. We always find comfort from songs as we feel related to the lyrics. So, I want to make one that could always comfort me no matter if I am going through hardship or enjoying my life. I want the song to always remind me to have faith and hope in myself.
Nguyen Khanh Linh Narrator
Rannie Ip is a final year student of OUHK doing her BFA (hons.) in Cinematic Design and Photographic Digital Art. This programme will soon be eliminated and replaced by another programme, and the university will soon be renamed.
“It seems that everything is in vain though, and I still want to reproduce these matters and feelings into video format.”
JURORS’ NOTES 評審評語
[Juror’s Special Mention: Winnie Yan]
24-a letter to my parents begins with some carefree drifting around Kowloon Tong, then slowly unfolding is the author’s monologues about herself, her family, and many more trajectories. Though erasing one’s portrait with correction ink might seem literal at a first glance, I enjoy how Ip composed and put together all the audio visual elements (in this case with her Mom plastering the wall for an apartment), where sound gives hints and images are stitched together, thus they interweave and steadily build a heartfelt video letter. The final line from Ip’s Mom, to me, creates a weirdly unexplainable resonance; it is also one of the most memorable moments from this round of submission. Here, I thank Ip for sharing such an intimate work with us.
I am touched by what is communicated in the shots portraying her Mom. Those moments stayed with me. (WONG Chun-hoi) The piece touches me for the purity in making the work. It also demonstrates a sensitivity by speaking Vietnamese even though she can barely speak the language. (WONG Fei-pang)
I simply find the work very natural and nothing stops me from getting into the work. I like her Mom. (Linda Lai)
28' 45" | 16:9 | 2016 | Digital HD Original Language : Cantonese 廣東話 Subtitle : English 英文 & Traditional Chinese 繁體中文 Location : Hong Kong 香港 Selected category:  DETAILED EXPLANATION OF A SHOW 「創作事件簿」  THEMATIC EXPOSÉ / EXPRESSIVE JOURNALING 「有板有眼，有話要說，有感而發」
documentary about documentary, Documentary
Combining elements of documentary, drama and experimental film, this “documentary about documentary” presents a curious incident encountered and re-enacted by ourselves as filmmakers, as we challenge the audience’s conception of what a documentary is. Our questions to the audience follow. What can you make of a situation from watching documentaries? Do you trust the filmed subjects? Does the filmmaker present the objective reality, the performance of their subjects, or an interpretation of their own experience? Can you trust the filmmaker? We believe that the documentary form is thought-provoking and can break the invisible wall between people. One day, perhaps it will urge you to step out of your comfort zone to experience the lives and feelings of others.
It’s a very refreshing entry from this round of submissions. I appreciate such reflection. I think it’s very rare that people these days still talk about Sham Shui Po in this context. (WONG Chun-hoi)
This work aroused a lot of discussion In 2016. I wonder why the makers have in mind -- what’s its relevance for today? They haven’t quite articulated its relevance.
I also feel uneasy with works that key in on in ethnic minorities. It is not that I don’t think their problems and existence should be talked about; I am cautious against representation out of political correctness. To put Vietnamese people in Shamshuipo in front of the camera could be cliche if they are turned into the sheer tokens of a social problem. The discussion in 2016 is very validated, as the female protagonist is struggling with such ethical issues. The two characters in the video have made clear the many issues of the documentary and the problems encountered during the shooting. I still want to hear from them the purpose of re-stating the issues -- here and now in Hong Kong. It is nonetheless a work I respect a lot. (Linda Lai)
It is a fictional narrative with a documentary essence -- I think it’s still refreshing. I also wonder if we need kindness in filmmaking. (WONG Fei-pang)
I simply want it to appear in the zine and I find it worthwhile. (Winnie Yan)
Lee is a Hong Kong independent filmmaker, focusing on documentary and experimental film. His latest documentary film Family Family Day has won the Gold Award (Open Category) in the 24th ifva Awards in Hong Kong, 2019.
I enjoy the video, perhaps the discussion can go back to whether the documentation is for the camera or the camera documentation is to get involved in the scene. I like the way the audience is inscribed in the work. (John Chow)
I think the piece really started off as a choreographic exercise, and the components -- space, action, environment, presence of the camera, voice-over -- are naturally connected. (Linda Lai)
The work makes me think of the game Stone simulator: there’s a stone perspective to see the world. I think it’s very difficult to achieve that. I think the whole game is simple and easy. (WONG Chun-hoi)
I think this work does address the hierarchy involved in video recording as opposed to being captured on camera. (WONG Fei-pang)