Why and for whom do you film today?
Feature by: Alexis A. Tioseco
Tan Pin Pin
It did not occur to me until I lived away from Singapore that location had so much to do with one's creative output. In Chicago where I was based for three years for graduate studies, I found myself, in the land of the free, making very whimsical films that explored subject matter like sexuality, architecture and childhood. Not only were the topics diverse, the forms they took, from narrative to multi-channel experimental work were as diverse. Only when I returned to Singapore, did I tackle more ambitious themes like the national identity so I made videos like 9th August, Moving House, Building Dreams, 80kmh, Singapore GaGa (singaporegaga.com) and now Invisible City (invisible.sg). These Singapore videos invariably take the form of documentaries. I felt this genre whose defining feature was the real was most suited for the urgent work that needed to be done.
In truth one does not have a choice in the kind of work one produces, but one does have a choice as to where one chooses to live. By my decision to move back to Singapore, I made the subconscious decision regarding the work I would be making. It would be work whose primary audience is Singaporean, and it would be work that attempts to push open their perspective of Singapore, to see this country as a teeming, contested terrain, that they should continue to contest and above all, to not lose hope.
Tan Pin Pin is a director based in Singapore. She recently completed the feature documentary Invisible City (invisible.sg). In her free time she likes to read, run, and listen to the radio.
Ho Tzu Nyen
Sherad Anthony Sanchez
Tan Pin Pin