Ka Wai Ola - Office of Hawaiian Affairs, Volume 6, Number 11, 1 Nowemapa 1989 — A film festival with a conscience [ARTICLE+ILLUSTRATION]

A film festival with a conscience

By Clarence F. T. Ching Trustee, O'ahu

The racial and eeonomie mob violence unleashed in a black community resulting in a human death and the end of a 25-year Ameriean dream was the central theme of Spike Lee's "Do the Right Thing," a recent offering among Honolulu's

varied movie fare. At a higher !evel, the movie studied the dynamics within a typical black community and between it and the cultures with whieh it co-exists. lt didn't take mueh of an imagination to substitute a Hawaiian loeale and Hawaiian players into such a scene. Times may have changed since the days of the 20s and the 30s whieh gave birth to events such as the Massie case. That was an unfortunate time in our history — a time when aloha-giving and peaeeloving Hawaiians may have been too intimidated to speak out or to rise to action. It is clear that attitudes of earlier generations are giving way to a bolder acknowledgement and assertiveness of who we are. lt does bother some people, however, when Hawaiians spokespersons elaim that some of us are ready to give up our lives to advance the cause. The fuse is ready to be lit. But let's get back to the subject. Lee's movie isn't being shown in this year's Hawai'i International Film Festival (HIFF), but offi-

cials of the festival are considering the possibility that "The Making of 'Do the Right Thing' " might. The idea that a film festival should examine the power of a film's content and not how it might do at the box office was conceived in the mind of then-East-West Center staffer, Jeannette Paulson, whose charge was to develop a community event that would bring to Hawaii's people a greater understanding between the people of Asia, the Pacific and the United States. "When Strangers Meet" became the theme. Another part of the plan was to honor a special group of filmmakers, the ones who are able to suggest to us through their medium, our dreams, visions and hopes.

Over the years, an excellent team of dedicated people has taken the original idea and transformed it into the internationa!ly-respectedinstitutionitis. Paulson, the "Mother of the Hawai'i International Film Festival", has provided the energy and direction that has brought the festival this far. The festival is in the midst of a major transition. Many of those who played important roles in its development have left for different reasons or have been transferred to other responsibilities. Paulson herself has quit as an East-West Center employee and is now on contract as the festival's coordinator. Unfortunately, in-house politics seems to be playing a major role in where the festival is ultimately headed. In the past year, it seems evident the East-West Center has made major changes in its financial commitment to the festival. It is fortunate indeed that the state of Hawai'i has taken up the slack

with an infusion of a quarter million dollars for this year's festival. These state funds will allow the festival to continue its activities of the past. It will help to keep neighbor island participation alive and will pay for needed publicity. In working with the Department of Education, dramatic results are expected by the increase of cultural and visual literacy among our school-age children. The East-West Center shouid be proud of its major support of the festival over the years. If it is indeed de-emphasizing the festival, it is probably because it has fulfilled some of its objectives īn sponsoring the activity originally. For me, the festival has been an extremely enlightening and enjoyable activity. For seven years I have been an ardent viewer and, on numerous occasions, a volunteer. It has brought many, many wonderful experiences into my life.

The festival has also showcased films about Hawai'i and the Pacific, and it has faithfully supported loeal filmmakers by including seminars and workshops on filmmaking. Films by loeal filmmakers are regular features and the festival has created an award for the film or video that best promotes an understanding of the cultures of Hawai'i. Archival films from Hawai'i and New Zealand have also been spotlighted. "Ka Po'e Hula Hawai'i Kahiko" (1935) by Vivienne Huapala Mader was shown in 1984 and "Films by James McDonald of the Tangata Whenua" were shown in 1987. These valuable films have been restored and will conticontinued on page 23

Trustee Ching

/rom page 19 nue to be available for future study, appreciation and enjoyment. The 9th HIFF is about to be staged and will take plaee on O'ahu between Nov. 26 and Dec. 2. The festival will extend itself to Kaua'i, Maui, Moloka'i and to both Hilo and Kona on Hawai'i from Dec. 3 to Dec. 9. The complete schedule will appear in both Honolulu daily newspapers on Nov. 14. Free tickets for the Varsity Theatre showings will be distributed on Nov. 18. Attendance at other locations are on a first come-first served basis. According to Paul Clark, chair of the film selection committee, there are three films about Hawaiian subjects by Hawaiian filmmakers: "Reflections of Lanai" by JuniRoa Productions (Heather Giugni and Esther Figueroa) a history of Lana'i including interviews and archival photos and films; "Celebrating Hawaii's Cultures" by JuniRoa Productions (1989 Smithsonian Festival on the Mall in Washington D.C.); and "Who Will Save the Bones?" by Puhipau and Joan Lander concerning efforts of Hawaiians to stop the disinterment of bones at Honokahua. Paulson says this year's festival contains "some really good films that one could get pretty excited about."

Reports from the Toronto Film Festival indicate that its best films from the Pacific Rim are also on this year's HIFF film list. "Sweetie" (Aust.); "Fight for Us" by Lino Brocks (former student at BYUHawai'i and former Mormon missionary on Moloka'i) about human rights in the Philippines; and "A City of Sadness" by Hou Hsiao-hsien (Taiwan) on the Taiwanese transition from Japanese colonialists to Chinese Nationalists, are on the list, if arrangements to get them here are successful. India's internationally renowned film eommentator Chidananda Das Gupta, in The Indian Express, wrapped it up for us. He stated that the Hawaii International Film Festival had "a clear perception of purpose" marking it as "one of the smallest and best film festivals today . . . determinedly reminding the visitor that he is at a festival with a conscience." Trivia: What was the loeahon of the Cyclomere — the Honolulu bicycle track where races took plaee in the late 1800s? Hawaiian, Chinese, haole and other teams challenged eaeh other and visiting teams from the mainland. Please eall Laura at 946-2642. The winner gets a rare native plant, the next nine with correct answers get rare native plant seeds.