We’ve always wanted to create something fun to watch, and this video is exactly that. We’re so honoured to have local dancer Alex Choy be part of it—if you’re wondering “why him?”, the answer is simple: this is just something he’d absolutely do in real life.
Through this piece, we hope to share the idea that our necklace isn’t just an accessory—it’s a little spark of joy you can carry with you. Whether dressed up or simply paired with a plain white singlet, it’s meant to be versatile, playful, and full of life.
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Dancer: Alexander Choy @iamreallycool_
Director: Sunnie Fang
Videographer, movement director, 1AD: Lenny Fung
Special thanks to Shang-Lien Yang and Elliot Huang.
My name is Shang-Lien Yang. I'm a freelance camera assistant in the film & tv industry. It’s a unique and special industry full of really committed people. Unfortunately, due to the outbreak of COVID-19, almost all productions have ceased indefinitely In the last couple of weeks. And many of us will be out of works for a long while.
Many of my peers work as freelancers, some of us work under an ABN, and some of us work as PAYG on short term contracts to production companies, and some of us do a combination of both due to the many different requirements of the varied productions we work on.
Currently, freelancers are not included in the government’s Jobkeeper program. I am asking @scottmorrisonmp and @josh.frydenberg.mp please make sure freelancers are included in the Job Keeper program and not left behind.
I am not an Australian Citizen so it’s not for me. It’s for my peers and other freelancers. They all work incredibly hard to create the films & tv series that are helping everyone get through isolation, so please help look after the people behind, and in front of the camera. With @withmeaa
Sorry @branco_cinematographer , I forgot to thank you for the photo.
Photo credited @branco_cinematographer
#noworkerleftbehind
Hiroshi Sugimoto Theaters - Memory and Expectation
The way of narrative in photography and moving pictures is opposite. Photography is retrospective media and is received as such. People search for what was there ; vice versa, movie is anticipatory. In a cinema you wait for what is to come next. The remembered time of photograph survives the acting time of a movie. We not only see the photographic memory of an inter but also the equally but paradoxically pictured memory and memory of a film whose existence on the screen we are forced to believe as we cannot actually see it. The particular relation between the time of a movie and the time of memory, in a building, in our case remains obscure. #HiroshiSugimoto #Theaters#RMITMasterofPhotograpy #CriticalFrameworkB
Hiroshi Sugimoto Theaters - Film and the photography All film narratives are adventures so they advance then arrive. By contrast, if there is a narrative form intrinsic to still photography, it will search for what happened, as memories or reflections do. In the series, which use the emptied evidence of an invisible film sequence, one media is blended into another (photography) in a playful and philosophical way. The site we see is not part of the movie and the movie we do not see has dissolved in its own time unit while illuminating the site. If the moving pictures is build up by lots of frames, in my opinion, the Theaters series might be considered as a movie because of the accumulated light and it just like the muti-layer of images. #HiroshiSugimoto #Theaters#RMITMasterofPhotograpy #CriticalFrameworkB
Hiroshi Sugimoto Theaters - Exposure
In the photograph, the exposure time was exactly as long as the movie was projected. In other words, he released the shutter just as projections started, and closed it when it ended. Images on the screen move to shine as the movie proceeds, and by the time it comes to an end, the photographed screen to nothing but silvery white. It seems that the photographs record empty rooms where nothing happens, and yet they are supported to picture a movie during the entire length of its projection on the screen. The white screen which is not visible to the audience during the film shows, fill up with accumulated light from the film story, in the end remains empty. Motion creates emptiness in the photograph. The site of the pictures that have been shown on its silvery surface reflects nothing but a trace of the light they carried with them when crossing the dark interior. He captures the floating time in a paradoxical way forever. The photograph, so to speak, testifies against its own traditional evidence as a medium and introduces a startling new time experience. #HiroshiSugimoto #Theaters#RMITMasterofPhotograpy #CriticalFrameworkB
Hiroshi Sugimoto Theaters - Time and Space
Sugimoto’s mentioned that there is something in common between watching a film and having a dream because we lose ourselves in either case. And theatre is the very room which we occupy with our bodies but which we tend to forget while traveling with our imagination and having a dream. The asymmetry familiar to us from the permanent site of a theater and the impermanent event of a theater performance. Time and space, are interwoven such as to reveal an abyss of riddles. The light represents an invisible film enshrined in a visible interior. As we study the interior more closely, and we discover a new stratification of time layers that extend the memory of the particular interior to the memories of the site distant in time and space. The discontinuity existing between a film vanished from our eyes and transforms the interior into a kind of imaginary or filmic site. We may ask ourselves whether time, the time unit of a film, has become invisible or whether it has adopted a transformation of visibility.#HiroshiSugimoto #Theaters#RMITMasterofPhotograpy #CriticalFrameworkB
In the court, The copy right is always very tricky to identify the ambiguity among copy and inspiration. As a street culture band, Supreme is famous for using other brands’ iconic elements to create sarcasm of the brand. On the other hand, Barbara Kruger, as an artist, imitates
the marketing strategy from Supreme which show us a genius way in inspiring people thinking in different aspects.
Nowadays, maybe the front of the art work is easy to copy or imitate. Fortunately, the soul in the art work is still difficult to be caught by the business. To me, Barbara Kruger demonstrate the audiences how to use simple works to drive the them thinking further and broader. #Performa17 #BarbaraKruger#RMITMasterofPhotograpy #CriticalFrameworkB
From my point of view, the most interesting thing is definitely the tension among skateboard brand Supreme who used her iconic style : Futura in red box as their trade mark. Even though, she refuted the connection between Supreme and the performance in the press release. To me, ironically, the action of denial is even guilding the audiences to think about the connection more, and can be considered into part of her art work in the performance. In the shop, you can find almost every kind of products as Supreme, from the classic hoodie, beanies to the metro card. And the decks with the slogan "Don't be a jerk" are also a hot item to purchase. About challenging consumerism, it's nonsense to me to paid for the entrance before you shop in their store. Unfortunately, nowadays many street culture brand used sub-culture elements to flourish their name and re-sale them on the street in a ridiculous price. Besides, As an Artist she didn’t narrow her works only on the products, she put many of her previous slogan as works on the billboard, roving yellow bus and even the installation in the skatepark which is much multiple and impressive than Supreme. #Performa17 #BarbaraKruger#RMITMasterofPhotograpy #CriticalFrameworkB
In, Performa 17, New York, American conceptual artist and collagist Barbara Kruger set up a pop up skateboard shop to critique the consumerism. However, Her performance excities me as I think she is questioning not only the consumerism but also some strange phenomenon in the current society.
#Performa17 #BarbaraKruger#RMITMasterofPhotography #CriticalFrameworkB
