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Chapter Summary

As the film culture and industry look set to flourish in Singapore, filmmakers, audiences, production companies, and policy-makers will each develop more complex vocabularies for creating, interpreting, profiting from, and controlling the output; and this will very possibly open up new and ingenious spaces for alternative and resistant expressions. This chapter presents an analysis of two Singaporean documentary filmmakers, Tan Pin Pin and Martyn See, in an effort to identify the possibilities and limitations of some of these new spaces. Tan adopts a nuanced, ironic, and rather slippery style, while See makes boldly resistant statements that provoke government action. In a videotaped interview featured in the DVD release of Singapore GaGa (2005), its director Tan Pin Pin explains that she made the 55-minute documentary because she wanted to fill a ?vacuum? that she felt existed when ?people talked about Singapore [in] very nationalist, big picture terms.?.

Keywords: film culture; Martyn See; Singapore; Singapore GaGa; Singapore Rebel; Tan Pin Pin



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