By Sandy Yang
Daily Bruin Staff
Today, we have a film industry that boasts very few Asian
filmmakers.
Aside from established auteurs like Ang Lee (“Sense and
Sensibility”), John Woo (“Face/Off”) and Wayne
Wang (“The Joy Luck Club”), filmmakers Joan Chen
(“Xiu Xiu, The Girl Sent Down”) and Tony Bui
(“Three Seasons”) have recently emerged.
But outside of these select few, even the biggest film buff
would strain to think of another Asian film artist.
It’s the same old story. In an industry that’s
suppose to tell universal human stories, Hollywood’s
reflection of society shows that diversity barely exists. Out of
hundreds of films released every year, the conspicuous lack of
Asian filmmakers persists even as we enter the 21st century.
Visual Communications’ (VC) Los Angeles Asian Pacific Film
& Video Festival, which begins today, shows that this absence
isn’t due to a shortage of talent but to a shortage of
support from those who can distribute films.
The 80 films by and about Asians in this year’s festival
aim to show L.A. the quality stories and talent often denied by
Hollywood and almost non-existent in the mainstream.
“When you effectively shut people out, you don’t
give talent the opportunity to develop,” said VC co-director
Abraham Ferrer. “You’re a casting director, and you
say, “˜We’d like to cast yellow people, but
there’s a dearth of them around.’ It’s a
manifestation of institutionalized racism.”
Stories within the festival range from documentaries discussing
WWII Japanese incarceration (“The Shangri-La Cafe”) to
a cop drama (“No Where to Hide”). There are personal
stories about the Filipino experience of growing up in America
(“The Debut”), assimilation (“Turbans”),
homosexuality (“Love, LTD.”) and even an account of an
Asian American actor’s experience in Hollywood (“Yuki
Shimoda”).
“There’s something for everyone,” said David
Magdael, co-director of the festival. “What’s nice is
that, finally, Asian Americans are telling their stories
too.”
Established in 1983, the VC Film Festival was meant as “a
vehicle to promote Asian and Asian Pacific American filmmakers
cinema,” according to its official newsletter.
Seventeen years later, Asian filmmakers are increasingly taking
advantage of the festival and showcasing their work to an audience
that Hollywood feared would not care.
But in 15 years, actors and filmmakers aren’t just
pounding their heads against a door that refuses to open. New
technology has opened more outlets for film, according to Ferrer.
Filmmaking itself has become a cheaper endeavor. Instead of the
Super 8 or 16 mm cameras needed to make feature films, digital
cameras can cut costs. Furthermore, public-access cable, the
Internet, community screenings and festivals are viable venues.
All this means that artists can take a pro-active approach in
showing their work because studio involvement and money
aren’t as vital as before. Though such filmmakers
aren’t likely to get their vision in 2,000 cineplexes
nationwide, many aren’t anticipating that sort of goal.
UCLA fourth-year film and television student Jess Lee
isn’t. For Lee, whose short film “Voices Like
Rain” will appear in the festival, he describes filmmaking as
a necessity rather than a fun way to make a living.
“It’s more important to feel something (in a film)
than understand it,” Lee said. “Filmmakers want to use
film as an expressive medium to air out (their feelings).
That’s why we make films, that’s not why Hollywood does
it.”
It is for the same reason that Doris Ng filmed
“Meat,” about a woman who contemplates abortion, which
will also screen at the festival.
“It’s from personal experience … my thoughts and
feelings,” said Ng, a fifth-year art history student.
“It’s something I felt I needed to do.”
Along with showcasing their work to an audience, the festival
will give filmmakers like Lee and Ng the opportunity to network
with other filmmakers and interested producers.
Fellow festival participant Ham Tran, a graduate student in the
School of Theater, Film and Television, knows how instrumental
festivals can be. Shortly after becoming a finalist at the Student
Academy Awards film festival for his short film
“Prescription,” Tran saw his name in Variety.
“When my name was in Variety, I received two e-mails and
three calls (from producers),” Tran said. “Aside from
film festivals, you hardly hear about these films. Here, people can
see what I’m doing.”
Tran is currently working on a film called
“Pomegranate,” using a digital camera. In the meantime,
his “Prescription” will also appear at the VC festival.
The film tells the story of a little boy who picks up a
prescription of herbal medicine for his father.
“It’s just a sweet little story and it’s about
Asian males and how they interact,” Tran said. “To be
portrayed (in Hollywood films as an Asian male), you have to be a
kung-fu master, you’re a dick and you treat women horribly.
There are hardly any warm, redeeming qualities.”
The lack of endearing characters is yet another reason Asian
filmmakers must be heard, said Julie Cho, a film and television
M.F.A. alumna. Cho’s film “Bubblehead” will be
shown at the festival.
“Look back at the first VC Film Fest, and you won’t
see as many films and videos as today,” Cho said. “Why?
Were there less stories then than now? Of course not. The VC Film
Fest is unique in its commitment to support Asian American
filmmakers, precisely because it still remains a struggle to get
our stories heard.”
For Tran, an ideal world of filmmaking and storytelling means
“we don’t have to continue making films defining who we
are,” he said. “We can get past the identity thing and
move on and get emotional stories and content. That’s why VC
is so helpful.”
FILM: The Visual Communications Los Angeles Asian Pacific Film
& Video Festival runs May 18-25, and will take place at the
Directors Guild of America, David Henry Hwang Theatre and the Japan
American Theatre. For ticket prices and a complete schedule of the
screenings, visit www.vconline.org.