{"id":3867,"date":"2022-09-25T16:36:44","date_gmt":"2022-09-25T07:36:44","guid":{"rendered":"http:\/\/www.imageforumfestival.com\/2022\/?p=3867"},"modified":"2022-12-18T20:22:57","modified_gmt":"2022-12-18T11:22:57","slug":"%e6%9d%b1%e3%82%a2%e3%82%b8%e3%82%a2%e3%83%bb%e3%82%a8%e3%82%af%e3%82%b9%e3%83%9a%e3%83%aa%e3%83%a1%e3%83%b3%e3%82%bf%e3%83%ab%e3%83%bb%e3%82%b3%e3%83%b3%e3%83%9a%e3%83%86%e3%82%a3%e3%82%b7%e3%83%a7-2","status":"publish","type":"post","link":"http:\/\/www.imageforumfestival.com\/2022\/en\/archives\/3867","title":{"rendered":"Prize-Winning Works of East Asian Experimental Competition"},"content":{"rendered":"

This year\u2019s \u201cEast Asian Experimental Competition\u201d received a total of 461 submissions from Japan, China, Taiwan, Hong Kong, Macau and South Korea, and after two carefully conducted rounds of screening 24 works were selected for nomination. The final evaluation was conducted during the screenings in Tokyo by the three jurors listed below.
\nOn 23rd September, award ceremony has held at Theatre Image Forum, and 6 works were awarded prizes and 1 work was selected by the audience\u2019s voting, it\u2019s as below.<\/p>\n

 <\/p>\n

\"\"\"\"<\/p>\n

 <\/p>\n

<\/h4>\n

<\/h4>\n

<\/h4>\n

<\/h4>\n

<\/h4>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\u25a0\u00a0<\/strong>Prize-Winning Works and Jury\u2019s comments<\/strong><\/h4>\n
Grand Prize<\/strong><\/u><\/em><\/h5>\n
Humoresque<\/strong>\u3000\u3000ISOBE Shinya \/ 46 min. \/ 2022 \/ Japan<\/h5>\n

\"\"<\/p>\n

This film depicts the lives of a son and his mother living in a fictional place with desolate and vast nature, where sounds like artillery fire can be heard from afar, in a very rich time-space invited by the minimalist sound design that eliminates dialogue and the excellent cinematography with its poised stance. The absence of the father in the film and the contrast between the father, the filmmaker, and his child, the subject, implied at through the camera, evoke ambivalent feelings of loss and intimacy, and wrap us up in the time between past, present, and future of hope, anxiety. We\u2019d like to send our heartfelt admiration for this brilliant and beautiful cinematic adventure.<\/h6>\n
<\/h5>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

TERAYAMA Shuji Prize<\/strong><\/u><\/em><\/h5>\n
Melting Icecream<\/strong>\u3000\u3000HONG Jinhwon \/ 70 min. \/ 2021 \/ Korea<\/h5>\n

\"\"<\/p>\n

It is a film about history, political struggle and the role of the photographic image in the midst of this dialectics. The subject of the film is difficult as well as difficult to handle, concerning the past as much as about the present. And yet the filmmaker is able to tackle this complex \u201cwhat\u201d with a \u201chow\u201d that is both engaging and expressive. To put it simply, it is a work of high relevancy and power that is thoughtfully-made, engaging the social and the political through the lens of the poetic. And this is what the jury finds in the work that responds and echoes to the spirit of Terayama Award.<\/h6>\n
<\/h5>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

SHIBUYA SKY Prize<\/strong><\/u><\/em><\/h5>\n
I’m Late<\/strong>\u3000\u3000KABUKI Sawako \/ 10 min. \/ 2021 \/ Japan<\/h5>\n

\"\"<\/p>\n

\u201cYour body is a battleground (Barbara Kruger,1989)\u201d and still it is. It doesn\u2019t mean, however, everybody can fight like a warrier. Through the artist\u2019s own experience, she invites people to a somewhat awkard dialogue on the issues such as sex, gender, pregnancy, delivery and abortion. Interviewees’ voices are real but not necessarily politically-correct. Although this film was chosen as a notable contemporary moving image practice, rather than the best animation among the nominated, it proves the power of animation to unlock the Tatemae and free the Honne. Honesty has always been the artist\u2019s virtue, this time once again.<\/h6>\n
<\/h5>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

Award for Excellence<\/strong><\/u><\/em><\/h5>\n
A Pile of Ghosts<\/strong>\u3000\u3000Ella RAIDEL \/ 70 min. \/ 2021 \/ Taiwan<\/h5>\n

\"\"<\/p>\n

Starting with the fiction of the Eiffel Tower in China, the film poignantly shows the fragile actuality that this multilayered and uncertain mass is reality, which is accumulation of various symmetrical objects, such as new architecture and ruins, real estate brokers and actors, the sound of a hammer echoing in the void and music from a Hollywood movie melodrama, the pseudo-romance between a nonexistent hotel guest and the host, etc. We admire the insightful editing and music design, which deeply elaborate the space between documentary and fiction, and we also would like to express our respect for this ambitious film that strikes a unique rhythm.<\/h6>\n
<\/h5>\n

 <\/p>\n

 <\/p>\n

Silver Cave<\/strong>\u3000\u3000CAI Caibei \/ 14 min. \/ 2022 \/ China<\/h5>\n

\"\"<\/p>\n

A beautifully-crafted and playful film that feels like a sort of cinematic hide-and-seek. The film is a formal and lyrical experimentation, an elusive play between images and words, perception and reading, experience and understanding. Beyond and beneath the surface of the materials presented, the work opens up a world of perceptual and conceptual possibilities, toying freely with the mind and senses of the audience.<\/h6>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

End Time and Trajectories of Ancestors<\/strong>\u3000\u3000Edwin LO Yun Ting \/ 34 min. \/ 2022 \/ Hong Kong<\/h5>\n

\"\"<\/p>\n

Like other good experimental films in this festival, there are many ways to read this film. One would focus on the methodology, juxtaposition between the digital landscapes of the video game Far Cry 5 (2018) and the analog materials in historical records. Whereas the images are empty and frozen, the sounds of religious hymns and testimonies of Native Americans are vivid and full of emotions. The question is, what did the artist from Hong Kong make this film on far away space and time in Montana for. However realistic it might be, the landscape made by CG is basically nowhere. Paradoxically, it can be anywhere just because it is nowhere. Then one may find the work strangely overlaps with aspects of the contemporary world; the link between cult religion with the death of the former prime minister in Japan or the nuclear threat of ongoing war between Russia and Ukraine or\u2026\u2026 perhaps the past and present of Hong Kong.<\/h6>\n
<\/h5>\n
<\/h5>\n

 <\/p>\n

Audience Award in Tokyo<\/strong><\/u><\/em><\/h5>\n
1st place:\u3000I’m Late\u3000\u3000KABUKI Sawako \/ 10 min. \/ 2021 \/ Japan<\/strong><\/h5>\n
2nd place:\u3000Anxious Body\u3000\u3000MIZUSHIRI Yoriko \/ 5 min. \/ 2021 \/ Japan<\/h5>\n
3rd place:\u3000Molting\u3000\u3000BOWDA Katsushi \/ 14 min. \/ 2021 \/ Japan<\/h5>\n

<\/h4>\n

 <\/p>\n

Audience Award in Kyoto<\/strong><\/u><\/em><\/h5>\n
Dozens of Norths\u3000\u3000<\/strong>YAMAMURA Koji \/ 64 min. \/ 2021 \/ Japan<\/h5>\n

<\/h4>\n

 <\/p>\n

Audience Award in Nagoya<\/strong><\/u><\/em><\/h5>\n
I’m Late\u3000\u3000KABUKI Sawako \/ 10 min. \/ 2021 \/ Japan<\/strong><\/h5>\n

 <\/p>\n

 <\/p>\n

\u25a0 Final Jury<\/strong><\/h4>\n
\n

\"\"<\/p>\n

 <\/p>\n

HAMA Haruka <\/strong>(director of Tokyo office, Yamagata International Documentary Film Festival \/ Japan)
\nIP Yuk Yiu\u00a0<\/strong>(filmmaker, media artist, curator \/ Hong Kong)
\nMA Jung-Yeon\u00a0<\/strong>(researcher in film and new media studies \/ Korea, Japan)<\/p>\n<\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

This year\u2019s \u201cEast Asian Experimental Competition\u201d received a total of 461 submissions from Japan, China, Taiwan, Hong Kong, Macau and South Korea, and after two carefully conducted rounds of screening 24 works were selected for nomination. The final evaluation was conducted during the screenings in Tokyo by the three jurors listed below. On 23rd September, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_locale":"en_US","_original_post":"http:\/\/www.imageforumfestival.com\/2022\/?p=3839"},"categories":[1],"tags":[],"_links":{"self":[{"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/posts\/3867"}],"collection":[{"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/comments?post=3867"}],"version-history":[{"count":8,"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/posts\/3867\/revisions"}],"predecessor-version":[{"id":3900,"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/posts\/3867\/revisions\/3900"}],"wp:attachment":[{"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/media?parent=3867"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/categories?post=3867"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.imageforumfestival.com\/2022\/wp-json\/wp\/v2\/tags?post=3867"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}