[AS PUBLISHED IN MALAY MAIL]
Power of the camera
By Jordan Barnes
BEFORE the 18-minute screening of award-winning documentary The Game Changer, a short feature film was shown on the projector at Kini, Petaling Jaya.
The 200 members of the audience sat in curiosity they watched a gentleman roam the streets of
Cannes, France. Allons-y (French meaning 'Let's go' was the name of the clip. Locals and US representatives who'd come out to support award-winning director lndrani Kopal watched on as the
Frenchman wandering in solitude makes his way to a theatre after fixing his tuxedo at the hotel.
It was a short production which was clearly shot with some integrity, a teasing preview with value in its own right.
The conclusion of the clip shows Kopal in action, revealing the footage had been shot using the camera of her iPhone. It was unexpected, no one would've believed such great quality could be produced on a mobile phone. However this was Kopal's motif all along - the cost of the equipment was invalid; it was the vitality that from the camera itself, the power of the camera.
The Game Changer, inspired by the challenging work overcome by charismatic dance instructor
Susan Slotnick, explores themes of acceptance and expression
focussing on individuals at the Woodboume Correctional Facility in New York. The prisoners are aided in rehabilitation by Slotnick who aims to turn the emotion of the individual into a dance performance. The expression on show carried a depth rarely exhibited for means of a documentary.
"To challenge the ideas of masculinity anywhere is a big deal, for any man," said Slotnick.
"To challenge your ideas of masculinity in a prison is amazing."
Kopal is back in Kuala Lumpur after winning The
American Pavilion's Emerging Filmmaker Showcase award during the illustrious Cannes Film Festival on May 19. This comes in addition to a win at the Harlem International Film Festival last year.
Slotnick revealed in the film the main issue in working with felons were the questions people raised. Inquisitors speculated as to why Slotnick would choose to work with the perpetrators of the crime rather than the victims.
Kopal said in the US, any job application form presents the question: 'Have you served in
prison during the past five years from today?'
Instantly, prospective employees who have been 'rehabilitated' are subjected to an alternative procedure. If a jail sentence is to account for time served, what does getting released truly warrant?
"It is always assumed that they (the prisoners) are rapists and killers," Kopal said.
"The system on the outside is designed to send them back in. They go through colleges, extensive programmes only to face a battle with the job application."
The subjects of Kopal's documentary is what challenges most conventions. It shows an
ability to look deep past the strong prejudice to decipher the complexity of emotions.
"It's about appreciating what they're trying to do, which is something beautiful. Susan gives
them a platform, a space of interaction between the men and the audience. It is about appreciation," explained Kopal.
The work has been two years in production. Kopal is still completing
her documentary and production studies at Hofstra University, New York. It was revealed recently that the sequel to The Game Changer is in the pipeline as part of her postgraduate thesis. It will be named Incarcerated Rhythm, looking at the long-term effects of Slotnick's therapy as the men aim to leave their past.
Providing a piece with a personal dimension is fundamental to Kopal's work. Her approach for The Game Changer involved working closely with Slotnick in order to be part of the experience with the men.
Her former Malaysiakini colleague Maran Perianan informed me of the inspiration behind her work.
"Indrani always has an attachment with her stories. A lot of people she works with are normally stories she has a passion about."
And ultimately. these finer details are caught on camera. It is contributing to Kopal's legacy and is testament to her personality.
The endearing support conjured up during the event moved Kopal emotionally, though after composing herself the familiar softly spoken voice returned to answer all questions posed.
Ironically, the education the men received taught a lesson to many inside the Kini theatre. Kopal
fights the stigma surrounding the negativity of inmates, highlighting the importance that lives matter,
incarcerated or not.
While many criminals go in and out of prison with varying degrees of rehabilitation, Kopal offers an example of genuine rehabilitation in graceful performance. It is captivating to see the movements, hear the stories and learn how Slotnick still feels these particular lives matter.
A prominently reformed figure in the film, Andre, opens up to the camera after being the subject
before for a project that spent years in the works.
"Being involved for so long it's not a movie anymore. If anything. we are glad you see us for what we are."
Power of the camera
By Jordan Barnes
BEFORE the 18-minute screening of award-winning documentary The Game Changer, a short feature film was shown on the projector at Kini, Petaling Jaya.
The 200 members of the audience sat in curiosity they watched a gentleman roam the streets of
Cannes, France. Allons-y (French meaning 'Let's go' was the name of the clip. Locals and US representatives who'd come out to support award-winning director lndrani Kopal watched on as the
Frenchman wandering in solitude makes his way to a theatre after fixing his tuxedo at the hotel.
It was a short production which was clearly shot with some integrity, a teasing preview with value in its own right.
The conclusion of the clip shows Kopal in action, revealing the footage had been shot using the camera of her iPhone. It was unexpected, no one would've believed such great quality could be produced on a mobile phone. However this was Kopal's motif all along - the cost of the equipment was invalid; it was the vitality that from the camera itself, the power of the camera.
The Game Changer, inspired by the challenging work overcome by charismatic dance instructor
Susan Slotnick, explores themes of acceptance and expression
focussing on individuals at the Woodboume Correctional Facility in New York. The prisoners are aided in rehabilitation by Slotnick who aims to turn the emotion of the individual into a dance performance. The expression on show carried a depth rarely exhibited for means of a documentary.
"To challenge the ideas of masculinity anywhere is a big deal, for any man," said Slotnick.
"To challenge your ideas of masculinity in a prison is amazing."
Kopal is back in Kuala Lumpur after winning The
American Pavilion's Emerging Filmmaker Showcase award during the illustrious Cannes Film Festival on May 19. This comes in addition to a win at the Harlem International Film Festival last year.
Slotnick revealed in the film the main issue in working with felons were the questions people raised. Inquisitors speculated as to why Slotnick would choose to work with the perpetrators of the crime rather than the victims.
Kopal said in the US, any job application form presents the question: 'Have you served in
prison during the past five years from today?'
Instantly, prospective employees who have been 'rehabilitated' are subjected to an alternative procedure. If a jail sentence is to account for time served, what does getting released truly warrant?
"It is always assumed that they (the prisoners) are rapists and killers," Kopal said.
"The system on the outside is designed to send them back in. They go through colleges, extensive programmes only to face a battle with the job application."
The subjects of Kopal's documentary is what challenges most conventions. It shows an
ability to look deep past the strong prejudice to decipher the complexity of emotions.
"It's about appreciating what they're trying to do, which is something beautiful. Susan gives
them a platform, a space of interaction between the men and the audience. It is about appreciation," explained Kopal.
The work has been two years in production. Kopal is still completing
her documentary and production studies at Hofstra University, New York. It was revealed recently that the sequel to The Game Changer is in the pipeline as part of her postgraduate thesis. It will be named Incarcerated Rhythm, looking at the long-term effects of Slotnick's therapy as the men aim to leave their past.
Providing a piece with a personal dimension is fundamental to Kopal's work. Her approach for The Game Changer involved working closely with Slotnick in order to be part of the experience with the men.
Her former Malaysiakini colleague Maran Perianan informed me of the inspiration behind her work.
"Indrani always has an attachment with her stories. A lot of people she works with are normally stories she has a passion about."
And ultimately. these finer details are caught on camera. It is contributing to Kopal's legacy and is testament to her personality.
The endearing support conjured up during the event moved Kopal emotionally, though after composing herself the familiar softly spoken voice returned to answer all questions posed.
Ironically, the education the men received taught a lesson to many inside the Kini theatre. Kopal
fights the stigma surrounding the negativity of inmates, highlighting the importance that lives matter,
incarcerated or not.
While many criminals go in and out of prison with varying degrees of rehabilitation, Kopal offers an example of genuine rehabilitation in graceful performance. It is captivating to see the movements, hear the stories and learn how Slotnick still feels these particular lives matter.
A prominently reformed figure in the film, Andre, opens up to the camera after being the subject
before for a project that spent years in the works.
"Being involved for so long it's not a movie anymore. If anything. we are glad you see us for what we are."
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