Issue 6 is dedicated to Manifestos. At various moments in cinema history, filmmakers have stepped forth to denounce, to challenge, to argue for or against, to communicate new values, ideas and ideals. They have demanded changes to the prevailing aesthetic, industrial or political order. Some might dismiss such manifestos as little more than cries in the dark. But these public statements have often proved influential and/or prophetic, encompassing not only filmmaking and the moving image but also politics, history, society and more. This Issue reproduces and critically dissects 12 manifestos (self-described and otherwise) hailing from a range of contexts, regions and eras. Although each of these documents were meant first and foremost to speak to the times in which they were written, this Issue invites us to consider how compelling and just as relevant they remain in the present day.
Darcy Paquet is a film critic, translator, author and the founder of Koreanfilm.org. He consults for the Udine Far East Film Festival and teaches at the Busan Asian Film School. In 2014 he co-launched the Wildflower Film Awards Korea, an awards ceremony for Korean independent films.
Featuring the following manifestos
1987 TAIWAN CINEMA MANIFESTO (PROVIDING THE SPACE FOR AN ALTERNATIVE CINEMA TO EXIST) | Taiwan, 1987
I SINEMA MANIFESTO | Indonesia, 1999
TOWARD AN OPEN CINEMA | South Korea, 1983
ON THE ART OF THE CINEMA | North Korea, 1973
WHAT IS WRONG WITH INDIAN FILMS? and WHAT AILS INDIAN FILM-MAKING | India, 1948 and 1970
THE ZERO-MINUTE FILM SCHOOL and DIGITAL DEKALOGO: A MANIFESTO FOR A FILMLESS PHILIPPINES | Philippines, 2000 and 2001
PARTISAN CINEMA | Kazakhstan, 2014
NOUVELLE VAGUE MANIFESTO; OR, HOW I BECAME A DISCIPLE OF PHILIPPE GARREL | Japan, 1997
SHAMANS · ANIMALS | China, 2011
KUMAN PICTURES: A MANIFESTO | Malaysia, 2018
Reflections by Peggy Chiao, Mira Lesmana, Jang Sun-woo, Adilkhan Yerzhanov