2 October 2002
Sarah Yeh
As part of our coverage of the Overseas Chinese film festival, Dimsum spoke to Pak Ling Wan, Film Acquisitions Officer at the British Film Institute, to discuss the Chinese place within the British film industry.

DS: What do you feel are the aims of this festival? – is it to promote British Chinese film making? Do you have more personal aims for the festival?

PLW: The festival aims to bring British-Chinese and Chinese Diaspora filmmaking to a wider film going audience, shedding light into what films have been made in the past and what they represent in terms of depicting Chinese lifestyles and especially the challenges of being an immigrant in Britain.

It would be an excellent achievement if the film season can trigger interest into British-Chinese filmmakers and create more opportunities for Chinese filmmakers, across all aspects of production, script writing, acting, directing etc.

DS: What is the intended audience for this film season?

PLW: The intended audience is as diverse and widespread as possible. The season should attract film goers from all communities and people who have a genuine interest in diverse and independent filmmaking. Obviously the Chinese audience should support this kind of event.

DS: The British Chinese audience has traditionally been fairly conservative, how do you think this audience will react to these films. Do you think that the audience is changing?

PLW: Unfortunately the majority of the first generation Chinese immigrants, have often shown a resistance to Chinese media and films of this nature. This is understandable as this generation often came from difficult backgrounds and worked hard to make a living in Britain. However, the conservatism is beginning to break down especially with the British born Chinese population.

These are more accustomed to the British way of life and are more attuned to the media profession in general. Although there is still a considerably long way to go, the Chinese audience will on the whole receive the film season with optimism and will be pleasantly surprised by the films and the content portrayed in them hopefully aspiring some to move into the media industry.

DS: There has been a recent debate about film funding in the uk. The main criticisms being that because most new films made in the uk are lottery funded they tend to be less 'popularist' as they don't have to compete for funding or sales. Another relevant criticism is that films now follow predefined 'proven' genres. One genre targeted was 'multicultural' originally set by 'My Beautiful launderette' moving to 'East is East' arriving at 'White Teeth'.

Are these credible arguments? How do you believe that British Chinese film fits into this scheme of things?

PLW: There is undoubtedly a threat that with lottery funded films, Cultural Diversity will begin to become pigeonholed into 'genres' which fit proven narratives. However, this should not be a reason to not make British-Chinese films as any opportunity to make these films should be acted upon, to gain momentum for a drive in British-Chinese cinema to rival the recent Indian-South Asian success of late.

The success of South Asian cinema should not be seen as a negative outlook for other diverse filmmaking but as an opening for more Cultural Diversity films to emerge. Despite these sentiments, there is an increasing fear that the whole South Asian scene is taking over and will govern the look of future diverse films. But it is up to the talented Chinese filmmakers out there to stop this from happening by coming up with even more creative and original ideas. Films can be made to target any audience, whether mainstream or independent as long as the talent and commitment and opportunities are there.

British Chinese films and filmmakers need to carve out a niche within the diverse films by writing scripts which will appeal and encompass Chinese lifestyles in Britain.

DS: How do modern British Chinese film makers challenge the stereotyped Chinese film genres?

PLW: Personally I have no objection to Chinese filmmakers from any country making so called stereotype films as long as they are of a decent taste and not made deliberately to denigrate the Chinese. There is always a compromise which filmmakers must understand when making films, which are financially backed, therefore successful films adhering to proven genres will always be made.

As long as they are made to a certain standard there should be no problem. Increasingly modern British filmmakers are experimenting more with narratives and filmmaking styles which offers refreshing films and attracts a new audience. Diaspora filmmaking concerning the challenges of being Chinese in a foreign country or disillusioned youth are being more popular themes which is all good.

DS: In what way is the filmic experience of British Chinese different from other European Chinese films? How are regional differences and experiences in the UK (Manchester, Liverpool, Glasgow) portrayed in this festival?

PLW: The films shown at the festival depict life from various areas of the UK. There is no dividing line, as all Chinese experiences are similar, only history creates the boundaries. The Blue Funnel Shipping company docked in Liverpool, thus creating the Chinese population there. In London, it was the Limehouse region. Regional differences and experiences are similar, but differences occur from the different Chinese backgrounds. Hong Kong, Mainland China, Taiwan, Malay etc Chinese populations have different views and opinions, which is displayed in their values and possibly films and content.

DS: Would you like to add anything else?

PLW: The Chinese film season should encourage more British Chinese filmmakers into getting their work noticed and generate an interest in Chinese films in general. Chinese imported films have a successful time showcasing around the arts and festival circuits. The recent hit Crouch Tiger Hidden Dragon has proved that foreign language films can become mainstream successes, which should now open the door for British Chinese filmmaking to come to the fore.