THIS YEAR’S THEME IS...

OBSESSIVE/COMPULSIVE

PLUS: Music Challenge

Every team is required to incorporate music into their film.  Examples include an original score, characters whistling a tune, or a music video.  Although musical creativity will not be a component of judging, it is a required element that the organizers would like filmmakers to utilize to enhance the narrative of their film as it relates to the theme.

>>DOWNLOAD THE HANDY SUBMISSION CHECKLIST & THEME DOCUMENT!!!

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Weekend contact (Saturday, Sunday and Monday, 12-6:00pm): Tana 917.881.8031


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A Note About Techniques Used in Film Music
Music is often used in films to involve an audience emotionally. Members of the audience can follow the story line as the visuals unfold, and can understand the emotions of the characters. However, as Brown (1994) says, it is the combination of the visuals with music that makes the viewers feel those emotions. For example, when watching Psycho we not only attribute fear to the unfortunate heroine when we watch her murder; we also feel fear, a sensation heightened by the visual impact of the camera work and the shocking musical accompaniment. Indeed, Brown (1994) writes that a critic for Time magazine objected violently to this scene because he considered it gruesome and far too explicit. On closer examination of the film, though, the portrayal of the murder does not actually show the knife entering the victim’s body. What causes the horror is the combination of Herrman’s score and Hitchcock’s macabre genius in editing the camera shots.

Music is used in two modes within films: diagetic and non-diagetic. Diagetic music is music which occurs within the narrative of the film. It is attributable to some source seen in the film, such as a radio, a record player, a musical instrument, a juke box or an orchestra in a concert hall. The characters of the film can hear this music. Non-diagetic music is music which is not part of the narrative, not attributable to a source in the film, and is unheard by characters in the film. This type of music is usually used to add affective colour to the film, and play on the emotions of the audience. It can be used to cue the audiences to feel uneasy; to build up tension; to flag an approaching disaster or to signal a love affair. Some composers, such as Korngold (composer of the music for the 1940 film ``Sea Hawk’’) associated particular characters with a non-diagetic musical theme, in the leitmotivic style (see below) most commonly attributed to Wagnerian Opera. This type of music is, for the most part, used to cue events in the narrative, although non-diagetic music playing at a counterpoint to the narrative can achieve interesting results.

http://www.cogsci.ed.ac.uk/~judyr/ghostwriter/music/paper/node7.html

>>Go to the 3rd Annual Film Shootout Film Site for the lowdown on this year's competition!!!

THE GOAL: WRITE, SHOOT AND EDIT A SHORT FILM IN 72 HOURS

Here's the stuff you'll need to take part in this competition.

• 2006 Official Rules
  
• Official Entry Form and Team Roster (PDF 112KB)
  
• Team Leader Affirmation (PDF 94KB)
  
• Participant Agreement for each Team Member/Leader (PDF 24KB)
  NOTE: All team members(including the team leader) must sign this agreement for your entry to be valid. Failure to do so will result in a disqualification. Team Member Agreements are due upon film submission. Team Leader Agreements must be mailed and postmarked by June 9, 2006.
  
• Parent/Guardian Release (PDF 32KB)- MUST be filled for each team members under 18.

Please read the official rules carefully. Please also note that the maximum length of your finished film is 6 minutes. There is no minimum length required.

THE FIRST STEP:
SUBMIT AN ENTRY FORM, TEAM ROSTER, AND THE NON-REFUNDABLE ENTRY FEE AS DETERMINED BELOW.

2006 ENTRY FEES
Below are the non-refundable entry fees for a group application
postmarked and submitted by:

EARLY REGISTRATION - $100
POSTMARKED BY: May 12, 2006

GENERAL REGISTRATION - $150
POSTMARKED BY: June 2, 2006

LATE REGISTRATION - $200 $150
MUST ARRIVE BY: June 8, 2006

Complete all forms and mail to:

Asian CineVision, Inc.
133 West 19th Street, Suite 300
New York, NY 10011

Make Check Payable to: Asian CineVision, Inc.

Questions?: Email

THE BEACHHEAD: APA SHORTS MAKE THEIR LANDING

The AAFilmLab and The ImaginAsian will be screening short films created by members of the AAFilmLab as well as a new face or two this THURSDAY, APRIL 13, 2006, 7:30PM - and the filmmakers are going to be looking for some support. This is the first in a series of screenings that The ImaginAsian has graciously offered to co-sponsor in order to get these films screened and to have our voices heard and we'd love to show them just how much we want our work to be shown in this city. Buy tickets online - http://www.theimaginasian.com/nowplaying/index.php?cid=900&date=20060413#100000468 and save some money or come straight to the theater this thursday and spread the wealth. The AAFilmLab proceeds will go towards more events like these as well towards the Script Competitions we hold each year (the winner of the first competition will be showing his short).

Most importantly, all you filmmakers who'd like a chance to screen your film at New York's premier Asian American movie theater, come to the screening to catch a few Asian American shorts, chat with the filmmakers during the Q&A, then submit your work to be considered for the next screening to be held at The ImaginAsian theater. We're waiting for more work and you know you deserve to be up there too.

FILMS:
"Factory"
At first glance Factory appears to depict the daily life of a typical factory in Phnom Penh, Cambodia. When we look more closely however we don't see clothes and sneakers but instead rubber feet and steel joints. Factory shows how Cambodians are working to address their country's legacy of war, poverty and landmines amidst one of the largest amputee populations in the world. ::Sonya Rhee:: Currently a producer of ethnographic films for Ogilvy & Mather, Sonya Rhee's previous documentary, which she co-directed and co-produced, Soldados: Chicanos in Vietnam, aired nationally on PBS as part of POV's program for 2003 and 2004. The film is currently archived at the Library of Congress as part of the Veterans History Project.

"J.J."
"The first time I saw her..." An unidentified woman narrates a dreamlike encounter she has with a girl. ::Jae-Ho Chang:: Jae-Heo received a BFA in Film/Video/Animation at the Rhode Island School of Design. He is currently attending NYU Graduate film school. He lives with his cat Hans Schmoozer in Manhattan.

"Mirror, Mirror"
::Colin Justin Wan:: Hailing from Singapore, Colin has been pivotal in making events such as these at the AAFilmLab become reality. He is currently an active member in good standing.

"ManHang"
::Hyunsuk Kim:: A member of AAFilmLab's All-Star International Cast, Hyunsuk, who originally hails from Korea, guides the AAFilmLab into discovering and conquering the path where art lives.

"Paper Dogs"
::Matte Chi:: Dropped from the sky and tossed from the sea, Matte is determined to take root upon this earth. Matte was born in Korea and raised in Queens.


EVENT DETAILS
THE BEACHHEAD: APA SHORTS MAKE THEIR LANDING
THURS, APRIL 13, 2006
7:30PM
The ImaginAsian Theater
59th Street (btwn 2nd & 3rd Ave)

Matte Chi, President AAFilmLab, The Workshop (2005-)

While I write this during the sleepy hours of a Sunday afternoon, the Asian American community is silently but unstoppably growing. At this very moment the Asian Americans who are accounted for, form 4% of the population of the United States. We Asian Americans will double our population in breakneck speed mirroring the historic growth of Hispanic-Americans. In a mere 50 years time we will stand on the platform alongside Hispanic Americans and African Americans to rival the majority in the United States (non-Hispanic White Americans will cling to a 50.1% majority).

During this time of unprecedented growth there is an incredible amount of work to do if we want to participate in the grand democratic conversation. As history has proven, physical numbers alone will not inherently provide the means of expression for our beliefs nor will sheer numbers alone provide the social structures necessary to distribute our expression. We must participate and we must commit to participating in the daily conversations of our lives.

And by what means can we converse amongst our peers and to the diminishing majority? As has been said before truthfully and correctly, it is through the Arts where expression will always be found.

I have found within myself and within this generation the incipient need to discover and communicate our ideals, our goals, our desires. Discovery is the most important element here. Though what we’d like to communicate is inchoate and continuously changing, the need to share this knowledge as it is gained has become an incessant drumbeat ever increasing in volume as each day progresses.

What better medium than film to discover and communicate these ideas? What medium can provide a better arena from which to continue the grand conversation taking place among us? Film’s intrinsically collaborative nature provides the testing ground from which to uncover a singular voice, or even better a chorus of voices, we all wish to find. Film provides the comraderie which we as social beings desire and need to survive, to reach that not too distant future when we will have more at stake and more voices that will want hearing. Film with its multidisciplinary breadth is perfectly designed to take advantage of the roles we have traditionally taken in our quest to find happiness through our until now obligatory lives.

Though fifty years may seem too far away, by then as elders, that is exactly the moment when we will need to have a stable, viable outlet of expression. Without expression we will find ourselves living in a world where nothing we say will ever be heard, and nothing we want will ever be given. We have the rest of our lives to work. Take this opportune moment to make that work worthwhile. Find a means to communicate the meaningful. Join us and pick up a camera, learn from experience and share that knowledge. Convince others to do the same, and you’ll find they will need little convincing.

The mission is simple: Create. Create honestly, continuously and share it. Above all Create.

Matte Chi

Chung Tsang and his friends have put together a shorts screening nite in Chinatown. The inaugural screening is this Friday, January 20, 2006. They will be showing some earlier works by Michael Kang.

DETAILS
30 Mott Street, NYC
(by Woo Hop)
7PM SHARP till 8pm. 
Q&A afterwards.

Hope to see some AAFilmLab peoples make it out on this expedition! Copy and pasted but still very valid and respectable bio of M.Kang follows below:

Michael Kang is a Korean American filmmaker based in New York. His feature film directorial debut “The Motel"which was produced by Indie veteran director Miguel Arteta (Chuck & Buck, The Good Girl) premiered at the Sundance Film Festival in January 2005 and is scheduled for its theatrical release through Palm Pictures in June 2006. “The Motel” is the recipient of the Humanitas Prize as well as both the Best Narrative Feature from the San Francisco International Asian American Film Festival and Best Dramatic Feature from The San Diego Asian Film Festival. The film was also awarded the 2003 Sundance/NHK International Filmmaker’s Award. In addition, Michael was a fellow at the Sundance Filmmakers Lab in 2002. Most recently, Michael was honored with a residency at the prestigious MacDowell Colony. He also received the 2002 Geri Ashur Award in screenwriting through the New York Foundation for the Arts. In 2001, he won the 24th Annual Asian American International Film Festival screenplay competition.

His short film “A Waiter Tomorrow” received both the FilmCore Post-Production Grant, 1998 and the Freaky Film Festival, Audience Choice Award 1999.His film “Japanese Cowboy” was a co-recipient of the Manhattan Community Arts Fund Grant, 1999 and the Special Jury Prize at Film Fest New Haven, 2000. Michael worked as second unit director for Wayne Wang on the film, Because of Winn-Dixie (where he got to direct a live bear).

Director - filmography
The Motel (2005)
Japanese Cowboy (2000)
A Waiter Tomorrow (1998)

Writer - filmography
The Motel (2005)
Japanese Cowboy (2000)
A Waiter Tomorrow (1998)

Actor - filmography
Asian Pride Porn (2000) .... Delivery Man
A Waiter Tomorrow (1998) .... Mike

Producer - filmography
Japanese Cowboy (2000) (producer)
A Waiter Tomorrow (1998) (co-producer)

Second Unit Director or Assistant Director - filmography
Because of Winn-Dixie (2005) (second unit director)

Editor - filmography
Japanese Cowboy (2000)

Stunts - filmography
A Waiter Tomorrow (1998) (stunts)

Himself - filmography
Last Man Running (2003) .... Himself