重点推荐 》

鍾樂偉: GANGNAM STYLE的南韓社會流行現象

《電影愛墾》

陳明發《攝影機和筆杆之間的等號》

那年是1948。一位身兼評論家的法國導演，叫阿斯特吕克，在攝影機和筆杆之間，畫上了等號。

我初次讀到這樣的說法，有點優越感。

不是嗎？曾有人說，筆杆勝過槍杆；這樣一來，攝影機不也勝過槍杆？


當我看着以前在戰場上拍攝的黑白照片，那被拍攝的許多深切時刻留了下來，但是當時手握槍杆的軍人已不知何去。

阿斯特吕克的這個“攝影機筆論”，把電影導演變成了作者；就像作者搖筆杆寫作，導演用攝影機創作影像，然後影像完成故事。

現在數位攝錄機普遍了，人人都可以玩影像，人人都可以是電影導演、電影作者，可是，我們闖蕩城市的故事，是否在影像中完成了自傳？說清晰了我們對這城市的感受？（May 29, 2012） 

石黑一雄·仿效媒軆

順帶一提，我在卡堤基這些學長姊身上注意到一點，這點儘管是對他們加以仔細研究的露絲也都沒有發覺，許多人的行為舉止都是從電視模仿來的。第一次是我觀察蘇西和葛雷格這對情侶的時候，注意到的，他們大概是全校年紀最大的學生，自然也就成為這裡公認的“當家”。每當葛雷格開始高談闊論普魯斯特或其他作家時，蘇西便出現某種特別的舉動：她先對著我們其他人微微笑，轉動眼珠子，誇張的嘴型發出旁人剛好能夠聽見的聲音說：“我的老天。”以前在海爾森，看電視的限制很多，卡堤基也是一樣，雖然沒有人出面阻止學生整天收看電視，但是沒有人對電視有多大興趣。

但是，農舍裡擺了一臺舊電視，黑穀倉也有一臺，我偶爾便會打開看看。因此我才發現原來這套“我的老天”的把戲來自美國連續劇，其中有一集，不管誰說了什麼或做了什麼，觀眾總是笑個不停。裡面有個肥胖的女人住在幾位主角隔壁，她的舉止和蘇西一模一樣，只要她先生大放厥詞，觀眾便等著她轉動眼珠說：“我的老天。”引發一陣哄堂大笑。當我發現這點，便開始注意所有學長情侶從電視節目學來的種種玩意：包括他們的手勢、一起坐在沙發的姿勢，甚至是吵架、奪門而出的方式。（《别讓我走》第7章）

陳明發·影像一帶一路: 記憶·尋索·再現

常在課堂上隨興提問: “怎樣的企業故事片才是好片? ”

許多人都推薦了鄰國泰國制作的那部潘婷洗髮水微電影。催人淚水，卻很真實。這麼說吧，好的微電影不僅僅需要攝錄機與勞力，它還是"用心拍的"。泰國拍得出這麼好的商業短片，該給馬來西亞一個很大的啟示。

建議可從舉辦微電影比賽開始，邀請全馬數十家大專院校的藝術系學生，以及對短片藝術有興趣的社會人士，發揮他們的影像概念、才華與想象力，給受推薦的個人、企業、地方、事物...........拍攝短片。

《影像一帶一路: 記憶·尋索·再現》征紀錄片企劃～～一、主辦單位；二、徵件目的: 紀錄一帶一路沿線國家有形無形人文影像、城鄉性格風貌，提供後續研究者研究之素材，並深化各國民眾親近一帶一路、珍惜一帶一路的內在情感；三、徵件主題: “記憶·尋索·再現”，共分...........等3類，紀錄並重現一帶一路沿線國家、地區的特色、傳統技藝的發展歷史與滄桑；深具在地風俗與紀念意義的民俗節慶，同時廣徵尋找一帶一路其他符合本賽事主題且值得紀錄保存之影像專題。四、影片長度: 8分鐘為限。五、收件日期: 即日起至月日止。六、製作獎金: 最高可得製作費。七、相關網站；八、聯絡方式: ) (June 17, 2015 草擬)

陳明發博士《文化資本存在形式》

根據特納的總結，布爾迪厄的文化資本所指的是: 那些非正式的人際交往技巧、習慣、態度、語言風格、教育素質、品位與生活方式。存在形式有三：

1 文化能力 (the ability of culture)：以精神和身體持久“性情”形成的具體狀態；

2 文化產品 (the product of culture) ：由書籍、圖片、工具、機器與詞典等文化商品形成的客觀狀態；具體顯現某種理論或其痕跡，包括對這些理論問題的批判；

3 文化制度 (the system of culture) ：以一種客觀化形式實現的體制狀態；就像正規教育保障著一個社會的日常操作一樣，文化制度庇護著這個社會的文化資本(參考:吳啟焰和王兆傑，2011，布爾迪厄的文化資本理論在旅遊規劃中的應用，《人文地理》2011年第1 期，總第117 期) )

（好萊塢電影《饑餓遊戲》劇照。電影是文化資本，因爲它受到版權等制度的保護；各種大大小小的文創實踐，包括文化傳播、電影教育、影展與消費文化等制度，使到參與者能從中獲益，這便是文化制度的初步解釋。Source：https://thecinemaholic.com）

德勒兹·時間影像 ：運動影像

《我想結束這一切》中我最喜愛的畫面，也是時間影像的呈現，莫過於片尾字幕的場景：終於天亮的雪景中，高中大門前停著一輛被白雪覆蓋的車。

正是透過那不中斷、連續許久的長鏡頭，使人感到特別震撼，如同德勒茲形容電影《上海小姐》所描述，觀眾已“深陷他人的過往，且被過往所挾持、鉗制住了”。（2021-03-04來源: 正宗的黃小逗）

美籍大馬女編導演陳風錐《幽幽大河》獲最佳恐怖片獎

美籍大馬女導演兼編劇陳風錐（Jules East），在多倫多國際女性節電影獎（The Toronto International Women Festival），以一部《幽幽大河》（River of Ghosts）贏得“最佳恐怖片”，結合東西方靈異氛圍，呈獻新穎的驚悚電影。

她小學念吉打亞羅士打吉華（H）小學，五年級後隨家長遷居吉隆坡，在精武小學畢業後進入八打靈公教。她也是本地工程師陳嘉瑞和蔡圖美律師的女兒，中學畢業後赴澳攻讀國際貿易，然後隨夫婿張基智赴美定居三蕃市，目前入籍美國。

現年43歲的陳風錐從小喜歡電影及創作劇本，這部電影由她編劇及導演，並從全球7982部參與作品中獲得晉級最後35部電影，贏得“最佳恐怖片”。

陳風錐通過臉書接受本報訪問時說，很高興能在這個重要的國際電影節平臺贏得獎項，雖然這部電影更像是驚悚及劇情片，電影是在加利福尼亞州一個海濱小鎮門多西諾拍攝。

故事情節講述一個男人的妻子失蹤，雖然鎮上對他持懷疑態度，但他私下正處理一種叫做“軀體體驗”的情況，並在鎮上尋找一位新的神秘醫生幫助。

她說，目前已完成另一部電影，正在安排在新加坡參與影展，希望有一天她的電影有機會在亞洲和大馬上映，與本地觀眾會面。

在這之前，陳風錐先後在2014年以《Lucidus》贏得好萊塢劇本大獎，以及2016年以《Into the Sand》再次拿下好萊塢劇本大獎。（29.7.2022 星洲日報）

陳明發·東西交融：文化敘事提供的選項

大馬有文化人才，畢業于八打靈公教中学的美籍女編導陳風錐立足好萊塢，剛剛贏得多倫多影展大獎。她對本地媒體透露，其作品在北美重要影展中贏得“最佳恐怖片”，原因是它結合東西方靈異氛圍，呈獻了新穎的驚悚體驗。

陳風錐的電影美學說明了，在文化敘事裏，東西方不但可以不衝突，而且還可能找到融合的契機。

我們願意借助文化敘事途徑來促進彼此的了解嗎？

人類目前的處境是：選擇文化交融，或：軍火交易，然後交戰。

我們需要新的方法，重新認識本身的命運。文化敘事提供了一項有效的選項。

The Pemulihan: Pembaharuan exhibition, which ends on Dec 5, was organised by Fergana Art in collaboration with Publika Shopping Gallery.

UEM Sunrise Chief Executive Officer Sufian Abdullah said historically Publika has always been aligned to the local arts scene and has supported such especially during the Movement Control Order with incentives including rental rebates and exemptions. However he said based on a number of businesses involving the arts that had shuttered as many were significantly affected by the restrictions.

"The first thing we did after the MCO was open Black Box as a performance space and we provided free live shows every weekend where every night we have two local artists performing on our YouTube and Facebook channel and we have also been accommodating them across the mall as well on a daily basis so that gave them an opportunity to re-engage with the audience. So that's been great in terms of footfall and the atmosphere that things are back alive again."

He said Publika also supported the arts scene by slashing rental rates by 25 to 50 per cent for such tenants and is keen to pursue this.

"Moving forward we are trying to reorganise our tenancy role and recompose the facility so that a lot them can get a bit more exposure and visibility and easier access to the shops instead of them intemingling with other retail outlets," he said, adding this would happen over the next three or four years.

Sufian said it was important for real estate companies and developers to support the arts as it was an integral part of placemaking and urban design.

"All we need is venue an event or space whether it is formal or informal and what you see here is that there is a formal allocation for performing arts to happen we have also broadcasted this on social media. It is important to keep this momentum going to allow this and we have to play our part."

馬来西亞文創

Creative Industries Policy in Malaysia

愛墾文創 地方創生： 達人交流 最新動態

跨界·絲路：文創青年關懷濱雪一帶一路

低成長年代的人生提案：推動內容營銷，打造2019年榮景

愛墾慕課·文創篇

愛墾慕課·在地篇

《我的加雅街杜順公主》生活&旅遊札記

愛墾慕課·影像篇

RM30 million to promote more local content on international stage

ByVeena Babulal - November 20, 2021

KUALA LUMPUR: The government will set aside an allocation of RM30 million for the National Animation Platform to put more local content on the international stage.

Finance Minister Tengku Datuk Seri Zafrul Aziz said the fund under the investment loan matching scheme would be operated by MyCreative Ventures.

This was based on the successes of Upin and Ipin, Agent Ali and BoBoiBoy that were not just household names in Malaysia, but famous across Southeast Asia.

He said agencies such as FINAS (National Film Development Corporation Malaysia), Cendana Malaysia (Cultural Economy Development Agency) and MyCreative Ventures were set to intensify various measures to revive the activities within the pandemic hit creative industry.
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"Under Budget 2022, a total of RM188 million is provided to continue initiatives such as the Digital Content Fund, Digital Multimedia Content project, Film Incentive and the Perkasa Modal Insan programme.

"Next year, the government will also provide the Riuh Keluarga Malaysia programme an investment loan matching fund amounting to RM20 million. The move is expected to provide 5,000 new job opportunities," he said at the opening of the Pemulihan: Pembaharuan (Recovery: Renewal) at Publika Shopping Gallery here today.

Tengku Zafrul said the creative economy supported 4 to 10 per cent of the productive workforce in developed countries. However, in Malaysia it contributed to lower than 2 per cent of the national Gross Domestic Product.

The minister said a large portion of workforce and participants in the creative economy were casual or gig workers.

"I truly understand some of them are badly affected by this pandemic – given the limited safety net within this segment of economy. Hence, last year under the Penjana initiative, the government allocated RM225 million via MyCreative Ventures Group that includes Cendana — to boost the resilience of the creative economy through a combination of soft loans, grants and living assistance," he said.

For cash grants towards creative and cultural workers alone, the government allocated RM10 million to Cendana which is intended to assist the livelihoods of people within the industry.

"This has been 100 per cent approved. As at today, we have distributed RM5.54 million of the funds to 554 creative industry workers. A sum of RM8 million was further allocated to Cendana under Pemulih and this has been 82 per cent approved," said Tengku Zafrul.

This year, he said the government expanded social protection coverage under Socso by including contributions for the self-employed and informal workers.

"This initiative will continue with a matching contribution of 80 per cent by the government and extended to cover nine new categories of self-employed which most importantly, will also include artists. This initiative is expected to benefit more than 810,000 self-employed workers nationwide," he added.

Agnes devoted an entire chapter in her book to Saudin, also dubbed “the Murut Marco Polo” after his return from New York. It was she who recommended him to pioneer Hollywood silent era wildlife documentary makers Martin and Osa Johnson, when they completed shooting the movie “Borneo” after spending one and a half years on the Kinabatangan in 1935.The Johnsons wanted someone who could look after Abai, one of the largest orang utans ever captured alive in Kg Abai, during the ship’s journey to New York Zoo, along with few more orang utans, gibbons and proboscis monkeys.

The ship left Sandakan for the month-long journey calling at Singapore, Port Klang, Mumbai, Colombo, Capetown, Morocco, and several other ports along the way, before crossing the Atlantic to New York.

Saudin pointing to skyscrapers coming up in New York in 1938. during a talk organised by Martin to New York’s elite, Saudin remarked in Malay that he was surprised to see New Yorkers lived in concrete cages while in the Borneo rainforest, only wild animals lived in cages. – Pic courtesy of the Saudin household.

It was noticed that only Saudin had the special ability to calm Abai, which won him the ticket to travel to the Big Apple at a time when New York ala Wall Street was the “happening capital” of the world. This is what lends the documentary the title “Saudin: The Orang Utan Whisperer”.The documentary is a powerful story of not just the bond that developed between man and animal but also of Saudin’s internal conflicts and observations, especially of adjusting to the shock of being suddenly plucked out of the Borneo rainforest and transplanted into the concrete jungle of New York.

Among the establishments that supported the documentary is the Safari Museum in Kansas, USA, where the iconic work of the Johnsons is stored and Finas.The documentary also received the support of the State Government and Hajiji praised the producers for their extensive research and resolve to put Sabah on the world map through the documentary.

Abai the largest orang utan ever captured alive, who died in New York’s Central Zoo.

Those who were present at the briefing for the Chief Minister at the State Administration Building on Wednesday included producers Noreini Abdul Rahman, Noorhayati Abdul Rahman, Director Muhd Zaili Sulan, Norsina James Julius, a granddaughter of Saudin and James Sarda, Chief Editor of the Daily Express, who has done research on Saudin, Agnes Keith and the Johnsons. — EDITOR（Source: https://sabahbarunews.com）

Murut’s 1930 New York journey going global

KOTA KINABALU: The story of Saudin bin Labutau from Kg Ambual in Keningau who became the first Malaysian – and for that matter from this part of the world – to visit New York in the 1930s and return to Sabah to tell his adventure will be known to the world soon.

Peninsula-based RYE Productions Sdn Bhd, noted for producing television dramas and concerts, has made a documentary on the exploits of the partially blind Murut. It would be shown on History Channel after the official launch in Sabah on Oct. 28 at UMS by Chief Minister Datuk Seri Panglima Hajiji Noor.

The documentary combines actual footages, dramatised re-enactments of Saudin’s life, including interviews with family members about their grandfather, who is well documented in the 1939 international classic by Agnes Keith, “Land Below The Wind”.

                   James briefing Hajiji about Saudin while Noreini (left) and Noorhayati look on

〈翻新敘事〉 /陳明發

一青年的短片入圍歐洲一重要影展，我有機會先睹為快。美國公司此前簽了他另一部短片的故事改編權，我聆聽過其想法。兩部片的素材與背景看似不同，其實講的都是倫理危機——科技倫理；家庭倫理。前者讓我想起石黑一雄的《我想活下去》；後者則近乎東野圭吾的《麒麟之翼》。母題可以古老，說故事的方式卻可能一代代翻新。除了勉勵，我沒說什麼，有些事新世代本身發覺了更牢靠。我倒是向他請教了不少關於串流行業的事，這領域的成熟，敘事人會有更大的發展空間。（12.7.2022）

延續閱讀：

《請别掛斷》

Malaysian short film 'Please Hold The Line' to compete at Venice F...

陈策鼎臉書

在全球激烈競爭中勝出的十二部微電影作品中，《請别掛斷》是唯一的一部中文片。不僅讓馬來西亞製作在多年後再次入圍威尼斯影展，這回也讓落選的海峽三地中文微影壇側目。馬來西亞中文創意産業還是有機會的。

雖是短片，導演卻是給百分百的專業作品投足了資本。他在訪談稿裏透露了，其資金來自導演上一部短片的原創故事，被好萊塢相中簽下改編權發展成長片的定金。故事真的有價，這對文創人應該是個福音。

收到一些關心策鼎的朋友詢問，為何在Youtube看不見這部片子。藉這裏向大家報告一下，這部《請別掛斷》要到9月正式在全球三大藝術電影盛會之一的意大利威尼斯影展（另一個是法國康城）首映後，才知道它接下來會怎樣和觀眾見面。

對策鼎的電影有興趣，歡迎上Youtube看他25歲時贏得馬來西亞最高規格的寶馬汽車短片競賽大獎的作品HAWA。看年輕人如何用影像探討，在一個“生病”的社會裏，看不見膚色差異的孩子，如何麵對“無助”的存在。～～

有心的朋友會發現策鼎的電影，都從不同的素材去探討倫理問題。很多好故事，還是得由年輕人來說給同年齡層的一代聆聽才是。

青年的三弟是一位特效師，其公司最近在趕一部中國大片的後期製作，每一天都加班多四個小時。昨天週日還得上班，不過下午就下班了。他說特地一個人去看了一場戲，還去了一家他小時候常去的書店，回家後特別開心地說：書店還在，那個他過去常常坐在一旁看書的角落也沒改變。

那角落的一邊是外國翻譯文學書架，他沒提他每次背靠的歷史部書架。書店很大，以前爸爸媽媽去辦事，他就“躲”在這整間書店最少人光顧的角落，看他從其他書架找來的新書。

許多人所不知道的，不少好萊塢、中國與韓國的影視作品都在馬來西亞進行後期製作。他就在其中的一家公司擔任特效師。

新一代比我們強的地方，是他們和國際團隊一道工作的機會更多，視野自然也不一樣。這是很讓中國人羨慕的地方。 由於網絡工藝的發達，給串流影視頻道如Netflix、Disney、蘋果、Amazon等創造了全球性的“在線戲院”、“在線電視臺”，對新內容的需要非常巨大。無形中，也給全世界各個角落的影視文創人製造了龐大市場。

愛墾網在2009年辦的巴生創意節曾推薦兩位年輕導演胡明進 Woo Ming Jin和楊毅恆 Edmund Yeo。两人2022年合作的新片《Stone Turtle》也入圍了瑞士Locarno影展最佳影片。令人欣慰。

Edmund楊毅恆2021年的新片moonlight shadow 在日本上映反應不錯後，還獲得臺灣泰國及韓國的片商引進個別國家上映，所以投資的日本公司感到非常高興，已在籌備新的作品的拍攝。

Dr. Tan Beng Huat: Singapore, Our Natural Source of International Tourists

Few months ago, I had watched a series of documentary on Singapore's nation-building experience in Netflix Channel by the title "A Frame In Time". Many good stories are shared through their heritage of old paintings, photographs & black and white contents from TV archive. One of them, "A Quest For Unity In 1960s " is to explore Singaporeans' desire to learn Bahasa Malaysia in evening classes, attempted to be a Good Malaysian.......

Chua Mia Tee, National Language Class, 1959, Oil on canvas, 112 x 153 cm, Installation view at the National Gallery

As a young kid in Southern Johore then, Singapore to me is just our neighbour town where my aunt stay. Many people of my generation who opted for Singapore citizenship have just retired in recent years with reasonable or even good saving. It's natural for them to be a rich tourist to visit Malaysia, where their relatives stay.

In fact, all these years, Singaporeans make up around one third of our foreign tourists (excluding the excursionists who make daily trips across the JB causeway). After the Covid-19 close down, other than visit their relatives and Genting Highland, their destinations also include many Malaysian places that they have never considered before. Just to name a few, weekend city tour to Sibu, Sarawak, Off Shore Angling trip to Kuching, home-stay in Kuala Selangor......these were in fact my youngest sister's records with her family and family of my brother-in-law's siblings. Our nature and culture is a blessing to them too.

Beside family tour, to my Singaporen nephews and thier peers, our seas are their diving paradise. One of them even become a coral conservationist of our under-sea world with funding from Singaporen government.

Meaning? Before we go back to what we have in 2019 which have witnessed international tourism hit record high of 1.5 billion, of which China's contribution is 10%, our neighboring countries are our hope. Other than Singapore, the number of Vietnamese's outbound tourists to South-East Asia is also going up. Afterall, to Sabah and Sarawak, tourists from Penisular is a ready market yet to be fully tapped.   (18.9.2022)

"In terms of how the authorities see it, films aren't even arts and culture but [a form of] communication," he said, referring to how films are expected to present some sort of narrative or message on behalf of the authorities.

Badrul also pointed to how there is a dearth of independent cinemas here to cater to a different audience rather than the ones served by local giants GSC and TGV.

"One thing any filmmaker should understand is that there are different kinds of audiences for different kinds of films. There will be films that can have a huge audience, but there will also be films that will only cater to a small group and require a smaller setting and smaller independent distributions.

"But those things are lacking here because we only have big cinemas. We only have multiplexes; we don't have independent cinemas," he commented, saying that a film with a smaller budget cannot afford to get distributed nationwide on GSC or TGV.

He said that this is why Malaysian independent filmmakers gravitate to streaming platforms, as it is a place where they knew they did not have to compete with larger films for an audience.

Sofia Jane's film 'Maryam Dari Pagi Ke Malam' is directed by Badrul Hisham Ismail (right) and produced by Anomalous Films' Eddy Abdullah (middle). — Picture by Choo Choy May
Sofia Jane's film 'Maryam Dari Pagi Ke Malam' is directed by Badrul Hisham Ismail (right) and produced by Anomalous Films' Eddy Abdullah (middle). — Picture by Choo Choy May

While acknowledging that streaming platforms such as Netflix has opened doors for films from abroad to compete against locally-produced content, Sofia said she views it as a challenge for local filmmakers to up their storytelling game.

"I always ask, if I can watch those kinds of films, why can't I watch locally produced films exactly like that?" she said, adding that there are young Malaysians who want to watch these kinds of films, but locally produced films lack the ability to attract moviegoers.

Sofia will appear next in Maryam Dari Pagi Ke Malam, directed by Badrul.

In Maryam, Sofia plays a gallery owner in her 50s from a noble Malay family who wishes to marry Damien, her younger partner from Sierra Leone, but faces opposition from her father (Omar Abdullah).

Producers Anomalous Films and Rhu Graha said the 90-minute film will playfully dissect the tensions, contradictions, and irony that surround polite society in Malaysia.

Currently in post-production, it also stars other renowned names in the industry such as Roslan Madun, Azman Hassan, Pekin Ibrahim and Bella Rahim in supporting roles.

Sofia Jane: Want Malaysian film industry to reach South Korean heights?
Higher-ups first need to care about art

Sofia Jane challenges the Malaysian authorities to put more care into arts such as the film industry. — Picture by Choo Choy May

By Zarrah Morden

Sunday, 14 Aug 2022 7:00 AM MYT

KUALA LUMPUR, Aug 14 — There have been many changes to the local film industry over the years, but not all of them have been good or welcome, said award-winning Malaysian actor Datin Sofia Jane.

She recalled the glory days of the National Film Development Corporation or Finas, when the premiere of films at its grounds brought not just industry players but also enthusiasts such as film students or even laymen with a passionate interest in local films.

"We need to be brave and we need to fail and be brave and fail again. Look at South Korea and how long it took them to actually be where they are today,” she told Malay Mail in a recent interview.

She said that elevating the Malaysian film industry to become an international success is doable, but the endeavour would require everybody to care about it — including the relevant ministries.

"You always end up with good intentions but there's only so much you can do because you don't have the last say in whether things can get done or not,” she said.

Sofia joined veteran actor and producer Datuk Rosyam Nor who told a forum on Thursday that the local industry can emulate the South Korean creative industry to become the country's major earner and increase its renown.

The forum had focused on Syamsul Yusof's historical blockbuster Mat Kilau: Kebangkitan Pahlawan which has grossed nearly RM100 million so far.

South Korea fell under the global spotlight after Bong Joon-ho's 2019 black comedy thriller Parasite achieved international critical and commercial acclaim, winning both the Palme d'Or and the Academy Award for Best Picture.

In response, the Communications and Multimedia Minister Datuk Saifuddin Abdullah had in 2020 tasked Finas with a roadmap — dubbed “Project Oscar” or "Road to Oscars" — for local films to win in the much-coveted Academy Awards in 20 to 30 years.

Last year, Finas submitted Muzammer Rahman's black-and-white drama Prebet Sapu starring Amerul Affendi and Lim Mei Fen for the Best International Feature Film category.

Despite the effort, director and writer Badrul Hisham Ismail said he finds it bizarre that in the country, the film industry falls under the purview of the Ministry of Communications and Multimedia, rather than the Ministry of Tourism, Arts and Culture.

#Showbiz: 'Don't Look At The Demon' first Malaysian movie to enter American market, premiere in 250 North American cinemas By Aref Omar

Viewers meet (or revisit) early kung fu icons Cheng Pei-Pei and Sammo Hung in new interviews, along with Billy Banks, who would turn the genre into his own fortune via the creation of the Tae Bo workout, early American female kung fu star Cynthia Rothrock, martial artist Richard Norton, plus from the 21st century shows, Iron Fist actor Jessica Henwick, Wu Assassins actor JuJu Chan, Doctor Strange actor Scott Adkins, and Marvel stuntwoman and choreographer Amy Johnston, among others. It’s all interspersed with great action sequences and other clips from more than 100 films. A theme underscoring much of kung fu movie history is a distinct lack of safety standards, with more than one participant in the documentary stressing that Hong Kong kung fu movies couldn’t be made anywhere else for that reason.

A key focus is not surprisingly Bruce Lee, taking America by storm as Kato in the Green Hornet series, his rejection by Shaw Brothers back in China, and then getting skipped over for David Carradine in his series Kung Fu, before gaining legend status only posthumously. While Chinese culture and movies in particular are still only beginning to make their way to Western audiences, kung fu films from Hong Kong began in the 1960s with a man named Runje Shaw whose studio turned from essentially soap opera productions into a lucrative action movie powerhouse, making Shaw one of the wealthiest men in China. Viewers will find the spread of kung fu had an impact on surprising areas of culture.

The film highlights benchmarks in the genre: Come Drink With Me (1966), One-Armed Swordsman (1967), The Big Boss (1971), Five Fingers of Death (1972), Fist of Fury (1972), Enter the Dragon (1973), Police Story (1985), China O’Brien (1990), Rumble in the Bronx (1996), The Matrix (1999), Crouching Tiger, Hidden Dragon (2000), Ong-Bak: The Thai Warrior (2003), and The Raid (2011). You’ll see early film footage with Michelle Yeoh, but oddly enough megastar Jet Li and his films from the 1980s through the 2000s get overlooked. The major downside of the documentary is in its third act, stretching kung fu movies to include poorly filmed YouTube videos. It also doesn’t enter into any discussion of wuxia and film in China outside of Hong Kong, it has few native Chinese interviewees, and provides only a brief flash of an image of director Quentin Tarantino, who is so widely noted as being heavily influenced by the genre. Also, there’s no mention of the culture impact to American kids of the “kung fu grip.”

The film comes from Veronica Fury, the producer of the documentary about Cannon Films, Electric Boogaloo (previously reviewed here). It has slick, in-your-face design imagery consistent with the genre and is overall informative and entertaining, bound to teach anyone something they didn’t know about Hong Kong and its pop culture creation. It includes the obligatory talking heads, but they don’t get in the way of what is best about the film. No doubt it has opinions that will create conversations among diehard kung fu movie enthusiasts, but for everyone else it’s an easy and fun two hours.

The documentary Iron Fists and Kung Fu Fists is streaming now on Netflix. (December 13, 2019 https://borg.com)

Click for More: https://iconada.tv/photo/link002

Iron Fists and Kung Fu Kicks–Netflix film tracks the pop culture reach of Hong Kong kung fu movies

Review by C.J. Bunce

From Hong Kong to the U.S. and Australia to Uganda, Australian director Serge Ou and writer Grady Hendrix track the scope of the Hong Kong kung fu movie industry and its pop culture influence on the world in the documentary Iron Fists and Kung Fu Kicks, now streaming this month on Netflix. Splicing interviews with kung fu legends of the past with new discussions with martial artists and actors influenced by them, Ou offers up a surprisingly rich look at how and why kung fu movies gained an international following that continues to this day via Jackie Chan comedies, the Matrix movies (with a sequel due in theaters next year), and new television series like Wu Assassins and Iron Fist.

Beneath what is in essence an overview of the genre is a smart mixture of social and cultural commentary on a global phenomenon centered on an artform mixing athleticism, dance, and grace. Kung fu made its way to American audiences with Tom Laughlin in Billy Jack, and into millions of homes via the Kung Fu series. This was paralleled by Bruce Lee movies and lesser films (they call them Bruce-sploitation) from China and U.S. studios, direct-to-video crotch-kicking and “squirrel-grabbing” action on VHS tapes in video stores, heroines leading the way as a sub-genre, eventually moving to black and inner city audiences embracing the culture, starting with martial artist and actor Jim Kelly (who co-starred with Bruce Lee in Enter the Dragon), re-emerging later as an influence on hip hop music. The genre got even bigger boosts with Jackie Chan heavy-stunt comedies, followed by The Matrix and the Academy Awards arrival of the genre with Crouching Tiger, Hidden Dragon. Chinese co-productions with other nations, and actors of Chinese background in the mainstream outside of Asia would eventually come along.

5/10 Shaolin Vs. Lama

Samples from the film Shaolin Vs. Lama appear mostly on tracks from GZA and Raekwon which at first doesn't seem that important to Wu-Tang as a whole, but GZA and Raekwon are two of the most critically acclaimed members of Wu-Tang, releasing the hit albums Liquid Swords and Only Built 4 Cuban Linx respectively. The influence they've had on hip-hop as a genre really can't be overstated. The film tells of a battle between a young Shaolin apprentice who has to learn a new move to defeat the head of a rival gang, who also happens to be a Tibetan Buddhist Lama.

4/10 The Eight Diagram Pole Fighter

The Eight Diagram Pole Fighter is yet another entry produced by the Shaw Brothers on our list, and it stars Gordon Liu yet again, as well as Alexander Fu in his very last film appearance.

The film was released in 1984 and made in Hong Kong. The film is based on some of the ancient legends of the Song dynasty, specifically a text called Generals Of The Yang Family. The RZA said that if he had to pick just one Kung-Fu film that was most important to the formation of the Wu-Tang clan, it'd be this one.

3/10 Ten Tigers From Kwangtung

Ten Tigers From Kwangtung is a film that came out in 1979, and was directed by Chang Cheh. It tells the story of rivalries held between the Shaolin and Qing dynasty. It features a ridiculous roster of incredibly good martial artists that you can usually find appearing in a Shaw Brothers film. It's also the classic "Tiger Style" sample in "Wu-Tang Clan Ain't Nuthing Ta F' With".

2/10 The Four Assassins （馬可波羅)

This film cast a western actor in an attempt to garner a larger audience. Another Shaw Brothers powerhouse, The Four Assassins tells the story of historical explorer Marco Polo's time in China (rather inaccurately) as he tries to thwart the 4 assassins that are coming for the Mongolian emperor's life. This film came out in 1975, and the name of the film serves as the title track for a Wu-Tang song.

1/10 Invincible Armor

Invincible Armor is a film that The RZA chose to sample explicitly because it's fairly obscure, deciding that by sampling it, hopefully he'd open a bigger audience up to watching one of his favorite Kung-Fu movies. The Invincible Armor is a 1977 film that tells the story of a man's struggle for his honor after he's falsely accused of a crime by a corrupt official.

About The Author: Cody is an author from Ohio. When he's not writing, he enjoys improv comedy, making music with friends, and consuming whatever media he can. Before working for Valnet mainly on the Screen Rant site, he got his writing experience in doing music.

Wu Tang Clan & The RZA: 10 Kung-Fu Movies That Inspired Their Hip-Hop

By Cody McIntosh Published Jan 16, 2020

10/10 The 36th Chamber of Shaolin

UP FROM THE 36 CHAMBERS... IT'S THE GHOSTFACE KILLA. Both the namesake of their debut album, which is not only their most critically acclaimed record, but also definitely the fan-favorite, shortly followed by Wu-Tang Forever and Liquid Swords. It's, of course, a film done by the Shaw Brothers as with many on this list to be sure. It tells the story of a fictionalized story of San Te, a mythical master of Shaolin martial arts. It also received a more light-hearted sequel, called Return To The Thirty-Six Chambers. If you haven't seen this one, whether you're a Wu-Tang fan or a fan of Kung-Fu movies, this one is an absolute must-watch considering some people think that it very well may be the best Kung-Fu movie of all time.

9/10 Shaolin And Wu-Tang

The film Shaolin And Wu-Tang is another really important film to Wu-Tang's history. Anyone who's heard 36 Chambers will recognize this movie considering it's been sampled on "Bring Da Ruckus", "Da Mystery of Chessboxin'", "Wu-Tang: 7th Chamber", "Clan in Da Front", "Conclusion", and "Method Man (Remix). This film also starred the star of the previous film on the list, Gordon Liu. While it's arguably more important than the previous entry since this film is where Wu-Tang took their name from, the previous entry is generally considered the better of the two.

8/10 Executioners From Shaolin

Executioners From Shaolin is another Shaw Brothers film from 1977. It follows the story of Hung Hsi Kuan, and a generational struggle that the Shaolin are involved in to take out the followers of Pai Mei, and the lineage that will eventually become the martial arts style known as Pai Mei Kung-Fu.

You might recognize this film as the source of the sample on 36 Chambers that really lets you know "Okay, I'm in for a hype album" when you finally hear that "Tiger Style" sample hit on "Wu-Tang Clan Ain't Nuthing To F' With". This song and this sample let you know that indeed, Wu-Tang should be held at a high regard.

7/10 Five Deadly Venoms

Five Deadly Venoms is another Shaw Brothers production about five fighters (the titular 5 deadly venoms) that all fight using unique animal-based Kung-Fu styles, such as centipede, snake, scorpion, lizard, and toad. Each one of these styles have specific attributes that are directly related to the animals they're named after, like the scorpion style character using a kick that is said to be able to paralyze its victims. Since 7 of Wu-Tang's members had served prison time, the RZA decided that the sample from the movie would represent that people were afraid of them, so he plopped it into the beat for the song "Intro (Shaolin Finger Jab/Chamber Music)

6/10 The Mystery Of Chessboxing

The name of the song "Da Mystery Of Chessboxin'" from 36 Chambers is a direct reference to the film The Mystery Of Chessboxing from 1979 which has the international title of Ninja Checkmate. The film features a villain known as the Ghostface Killer which is extremely reminiscent of oh wait... Ghostface Killah, duh.

The villain in the film is known for his distinctive 5-elements style and most of the film features our protagonist trying to get an old master to teach him the art of chessboxing, a rather strange sport that features the alternations of rounds of chess with rounds of boxing. A pretty uncreative name for such an odd sport, but it gets the job done.

“Inherent Tribe Tatana” by Chester Pang

Sabahan producer Chester Pang puts the limelight on Dusun Tatana people in his 60-minute documentary film titled “Inherent Tribe Tatana”.

Just like other 30 ethnics in Sabah, he said the ethnic from Kuala Penyu deserves a storytelling opportunity to tell the world of its uniqueness.

“As people know the Baba Nyonya in Melaka, Dusun Tatana in Sabah also has the similar backgrounds,” he said after a technical preview of the film at a cinema here on May 11.

According to the documentary, due to the proximity of Kudat and Kuala Penyu to China, it is possible that the Chinese migrated to both places during the 19th and 20th century which led to the intermarriage with Dusun Tatana people.

To date, there are about 3,000 descendants of the Dusun Tatana, although embracing either Christianity, Islam or Buddhism, but they are still practicing Chinese traditions such as celebrating Chinese New Year.

Despite having fewer “shaman” and “messenger” now, the Tatana people is still conducting rituals meant for blessings, peace and harmony among others.

The annual organisation of Odou Bakanjar festival, which falls a day after Chap Goh Mei, is said to make the people including younger generation to feel proud of their heritage.

Pang said the RM280,000 film, which is partially funded by FINAS, will take part in the international film festivals this year.

It will be screened for public viewing next year either via local television programmes, online platforms and also Netflix.


Sabah Creative Economy and Innovation Centre (SCENIC) general manager Viviantie Sarjuni said the centre under the initiative of Sabah government would support creative talents.

“We do not only provide training and workshops but also help to commercialise talents into the international level, outside Sabah.

“For Chester, we will also support in terms of their participation fees to join festivals, their flights and accommodation to ensure their journey is smooth-sailing.”

(Source “Inherent Tribe Tatana” to compete in international film festivals by Borneo Echo Team on May 12, 2022

Chester's early works: https://iconada.tv/profiles/blogs/home001

馬来西亞立國一甲子（1963-2023）

天大樂事：古天樂要到大馬拍電影

古天樂近年成為香港新一代影壇大亨。

今年52歲的影帝古天樂近年成為香港新一代「影壇大亨」，旗下的天下一發行多部不同類型的港產片，其4億鉅作《明日戰記》本月更在netflix全球上架，成功躋身全球點撃率第6位，最近古天樂接受荷里活傳媒《Deadline》訪問，期間提及現時香港影壇目前情況外，更透露天下一下一步將會進軍荷里活及其他泛亞地區，甚至會在馬来西亞、泰國、韓國等地製作當地語言的影視作品。

古天樂近年創立天下一，公司規模越搞越大，目前已在泰國、韓國等地設辦公室。

天下一近年出產過多部港產片，題材由小眾的跨性別人士，到4.5億科幻鉅作都有 ——

余香凝、廖子妤主演的《骨妹》。

姜皓文主演的《翠絲》。

潘燦良、吳鎮宇等主演的《逆流大叔》。

楊千嬅、古天樂與一班老戲骨演出的《五個小孩的校長》。

吳君如主演的《媽媽的神奇小子》。

最近大破港產票房紀錄的《飯戲攻心》，天下一亦是製片商之一。

天下一近年亦有投資荷里活電影，包括《維沃的精彩生活》與《一家人大戰機械人》，更擔任執行製片人。

《明日戰記》有逾1900個CG鏡頭，古天樂也表示難度極高，充滿挑戰性。

其中最難的是機械人對戰的場口。

《明日戰記》是香港電影歷來投資金額最高的電影之一。

古天樂自己也是科幻迷。

《明日戰記》於英國倫敦東亞電影節特別放映，古天樂特地飛到當地分享。

目前天下一正製作《明日戰記》的前傳動畫。

古天樂旗下的天下一近年《媽媽的神奇小子》、《梅艷芳》、《飯戲攻心》、《翠絲》等多部電影，大作外亦不乏題材特別的小品，古天樂在訪問中坦言：「香港確實需要尋找新的編劇和導演人材，過去電影產業曾經非常成功，但沒有迎合本地香港年輕觀眾口味。」古天樂解釋指：「他們（香港年輕人）對我們在國際市場上為人熟悉的動作片或犯罪片不敢興趣，所以我們希望製作更多貼近他們生活經歷的電影。」

天下一近年投資兩部Sony動畫電影，包括《維沃的精彩生活》（Vivo）及《一家人大戰機械人》（The Mitchells vs. the Machines），古天樂更擔任執行製片人，他在訪問亦透露公司有意進運荷里活及泛亞地地區，目前更尋找更多投資機會，不過整體目標是希望透過合作計劃，成香港產業的技術能勁夠得以提升。

《明日戰記》涉及逾1,900個CG鏡頭，古天樂直言充滿挑戰，其中最困難的是機械人打鬥場面，目前《明日戰記》亦正在製作動畫前傳，身為科幻迷的他對AI感興趣。針對香港市場較小的局限性，古天樂打算在亞洲不同地製作當地語言的作品，包括馬來西亞、泰國、臺灣和韓國等國家，目前在內地外，於泰國、韓國已開設辦公司。

今年港產片香港票房大放異彩，其中古天樂天下一有份的《明日戰記》、《飯戲攻心》票房屢破紀錄，成為香港影史上票房最高的兩部華語電影，有人認為港產片市場正式復蘇，古天樂認為每個國家的電影業都有起有跌：「只是香港影業到達了最低點，現在反彈回來。這就是為甚麽現在是嘗試新事物的最佳時機，我們不能一直重覆相同套路。」（原題：古天樂投資荷裏活電影為影壇吸新技術 計劃進軍韓泰市場出當地電影 / 原載：16.12.2022 星岛網）

全球2023年度熱門串流與線上影視網站排名

1 youtube.comyoutube.com

2 netflix.comnetflix.com

3 imdb.comimdb.com

4 miguvideo.commiguvideo.com

5 disneyplus.comdisneyplus.com

6 hotstar.comhotstar.com

7 hbomax.comhbomax.com

8 aparat.comaparat.com

9 hulu.comhulu.com

10 primevideo.comprimevideo.com

11 kinopoisk.rukinopoisk.ru

12nicovideo.jpnicovideo.jp

13 xfinity.comxfinity.com

14 nhk.or.jpnhk.or.jp

15 zoro.tozoro.to

16 dailymotion.comdailymotion.com

17 programme-tv.netprogramme-tv.net

18 nrk.nonrk.no

19 rottentomatoes.comrottentomatoes.com

20 tenki.jptenki.jp

21 mediaset.itmediaset.it

22 sky.comsky.com

23 peacocktv.compeacocktv.com

24 soap2day.tosoap2day.to

25 crunchyroll.comcrunchyroll.com

26 bfmtv.combfmtv.com

27 fmovies.tofmovies.to

28 abema.tvabema.tv

29 rezka.agrezka.ag

30 itv.comitv.com

31 zdf.dezdf.de

32 jiocinema.comjiocinema.com
33 waisheph.comwaisheph.com

34 nos.nlnos.nl

35 yandex.kzyandex.kz
36 orf.atorf.at

37 vimeo.comvimeo.com

38 tvn24.pltvn24.pl

39 namasha.comnamasha.com

40 paramountplus.comparamountplus.com

41 voot.comvoot.com

42 rutube.rurutube.ru

43 rtve.esrtve.es

44 raiplay.itraiplay.it

45 vidio.comvidio.com

46 dramacool.crdramacool.cr

47 sky.itsky.it

48 tf1.frtf1.fr

49 ardmediathek.deardmediathek.de

50 ivi.ruivi.ru

（續上）倫理：組織與参與者（鄉親、宗親、社運志工）維持良好關係，建立情感連接、認同共識；参與者爲社團傳播口碑，讓組織“無成本”、“無營銷”，便擴大社會影響和實惠收益（如享受到大學或企業社會責任資源）。

生產鏈：社團文創商品如書刊、吉祥物、紀念品或生活用品等，從設計、生產、廣告到供貨，有良好的資源整合、商品信息互通、價格上下線協同、庫存全局可視、營銷資源共享、會員機制統一、配送管理統一等設置。

文史：文史研究實用意義的傳播，迫切需要跨科與跨界的智慧交流，是擴散民族知識的前奏曲。除了文史的扎實内容，也要從文化傳播方面，掌握参與者日常行爲、社交、媒體和輿論等論據。發揮學術的實際應用價值。

社媒：與社媒营銷工作者合作，透過設想活動體驗或文創產品的場景，多方式、多維度、多口徑採集可用數據, 預測趨勢、提供決策選項，檢測、預防風險、参與者（分類、價值觀、體驗需求）分析等前期作業，接着精準推送個性化信息，必要時可製作、發送小短篇、微電影等文宣。留言欄的反應有助促成参與者,主導文創商品與體驗活動的設計、生産與供應鏈。更加傾向於個性化、自由化選擇。

粉絲：社團新品牌的崛起，依賴於粉絲經濟（包括内容营銷、TikTok經濟學、讚經濟、短視頻效應等）。社媒網絡深入参與者生活，信息更加公開透明、傳播廣而快，使得社團粉絲的重要性大大提高；而且，傳統媒體，如電視廣告，纸媒報章的作用和效果減弱，成本較高。

良性循環；活動/交易結束是另一波營銷的開始。強調購買體驗、售後服務及参與者口碑傳播的重要性；推進體驗消費循環圈；趁既有参與者新鲜心理紅利未消失，深入挖掘参與者的新需求；體驗和口碑的産生，需要從生理、心理等多方面給参與者驚喜，如参與者的感官、情感與行爲。

會員體系：要培養頭部粉絲参與者，産生大V效果（頭部帶局部）；提高社會影响力變現能力。重點在于維護會員的忠誠度，提供真正有價值的體驗服務，避免“為舉辦而舉辦”，應重情感、避免同質化營銷。提供會員回饋、文化建設、長期個人化聯系，從而保持良好關係。

哲學：一流組織銷售文化，二流組織銷售品牌和信譽，三流組織銷售商品和服務。面對社會影响、經濟發展的背景，全球亦有ESG可持續要求，参與者從“理性参與”轉向“感性参與”，體驗方式的設計應緊隨参與者。一些值得關注的新趨向：配合TikTok經濟學，鄉產學協作倡議等，開發故事營銷、内容营銷，如雪蘭莪黄金海岸濱雪鄉鎮的新旅遊商品故事；街邊攤/咖啡店肉骨茶檔走向國際市場的成功故事；新加坡貨幣强勢带来馬来西亞的地方商機；東馬各鄉鎮原有土產（如古達泥蚶、馬鲁度玉米、拿篤燕窝與丹南咖啡等）節慶，如何與造就新一代的鄉產學结合上来。（陳明發博士〈TikTok年代：刷亮華團品牌路徑圖〉23.6.2023）

陳明發博士〈TikTok年代：刷亮華團品牌路徑圖〉

你對華團還有期望嗎？

你真的認為，好些老字號的宗親、鄉親社團在傳統福利、文教與社會關懷之餘，非搞個“總商會”不可，才可能搭上一带一路的大願景？

不管多偉大的憧憬，在媒體4.0的年代，没有一套完善的营銷方略，再响亮的名堂，還不如一個搞活了TikTok的漢堡包街販呢。


在總動員“我們客家人”、“我們姓李的”之前，管理好鄉親們、宗親們、同業們或策略伙伴們的参與意願，投入期望，是偷懒不得的心理學功課。

最重要的，先從組織本身的領導與幹部做起吧。

要不，瘦田没人耕，耕開大家争，那真是親者痛、仇者快囉。


首先聲明，本全渠道PNS营銷方程式，適宜全部文化組織如宗親總商會、鄉親總商會以及一般華團、非营利社團、社會影响力企業、青年運動與婦女組織等。要抓住機會，就要提供超越参與者預期的體驗。

對于那些有待提升的商團、行團，本PNS一樣有效。

P：Participant参與者(民眾、會員或特定對象，如福建或海南鄉親、林氏或王氏宗親等)；

N：Network網絡（接觸信息與理念；参與文創商品與活動盛事等的渠道、媒介，如Whatsapp、臉書、微博、IG等社媒）；

S：Service服務（報名/下單、支付、舉辦/配送、售後等會員服務）

目標：樂齡老参與者（50、60、70後），與Z世代（90，00後）参與者，各有不同的人生需求。可採地方化/社區化社媒营銷模式，如連接在地“人文地產景”方面的消費、産業、動態、物流、週邊商舖，注進社團話題，如福建社區、廣東社區的特色訴求。活動形式和內容要求多樣化、趣味化。

個案：每月籍貫美食配送、安親生活服務與孩童文化體驗等。可結合行團、商團、古迹、老街、宗祠、文物館、骨灰塔與文教講堂等集体記憶論述。

藍圖：建立参與者體驗需求圖（如鄉產學協同計劃、華團ESG領導學、文創市場學、民族[企業]大學、地方詩性藝術創作等）

科技: 根據體驗期待藍圖，爲参與者，提供一緻性的、閉環式的参與/使用體驗。多端統一貫徹6大服務要素：隨時、隨地、隨性、方便、快捷、合理。（在節慶化、大日子化的活動之外，亦有日常化、小日子化的華團）。

本質：售賣文創商品，提供盛事體驗服務；價值上追求最大满足，成本上（時間、金錢、精力）講究合情合理合法。（下續）

KKFVA 3rd Golden Wind Award

沙巴一群年轻朋友在文创領域的努力结果。

這些年看着他们一步步走过来，

当中慕前幕后有些文創人，

我看着他们从少年期一路成长起来，替他们开心。

请协助他们把创作心血分享出去。

江山代有才人出，希望在文创。

This marks yet another achievement. Congratulations to these groups of cultural and creative professionals from Sabah.

Over the years, I have witnessed their gradual growth in the challenging field that demands imagination, passion, and devotion.

Let's support them in sharing their creative endeavors.

Talented individuals emerge in every generation; the cultural and creative industries present promising opportunities for them.

Keep up the excellent work!

（KKFVA 3rd Golden Wind Award）

Nomadic Narratives

1.Order is often considered crucial for understanding stories, but this notion can be challenged. Maria Tamboukou from the University of East London has introduced the concept of nomadic narratives. These narratives don't necessarily follow a strict chronological order with clear beginnings and endings. Instead, they meander through various literary styles and autobiographical accounts, blurring the lines between genres.

2.Narrative analytics frequently emphasizes the dynamic process through which stories evolve, focusing on how meaning emerges and narratives take shape rather than adhering strictly to their sequential structure. There's a notable shift in attention from merely representing experiences to understanding the effects of power dynamics, knowledge relations, and desires in play. Analysis now pays close attention to the fluidity and openness of narratives, acknowledging the virtual forces that influence them, as well as the significance of silences and unspoken elements within them.

3.Narration revolves around the interconnectedness of experiences and relationships. Traditionally, it hasn't involved the researcher's personal identification with their historical subject. Rather, it's been about the spatial and temporal connections that lead one to recognize that their present as a researcher comprises a series of realized moments, enveloped by numerous potentialities emerging from the study.

(Rewrite by www.iconada.tv from Re-imagining the narratable subject by Maria Tamboukou of University of East London, Article  in  Qualitative Research · July 2008 DOI: 10.1177/1468794106093623 · Source: OAI)