How did the Asian Film Archive and the Thai Film Archive come to work together?
Join Sanchai Chotirosseranee, Deputy Director of the Thai Film Archive (Public Organization) and Asian Film Archive’s archivist, Chew Tee Pao, in an online discussion where they will share how the inaugural RECIPROCAL programme came about and delving into their curatorial process on the film selections. Using the selected works as a springboard, the speakers will reflect and exchange conversations on the preservation issues and challenges confronting both archives. The discussion will be moderated by Lisabona Rahman, an independent film preservation consultant and programmer.
The panel discussion will stream live online via AFA’s Facebook and Youtube channels on Thursday, 21 July 2022 at 7pm (GMT+8).
About the Speakers
Sanchai Chotirosseranee holds a Bachelor’s degree from the Faculty of Journalism and Mass Communication, Thammsat University, Thailand, and a Master of Arts in Film Studies from the University of East Anglia in the United Kingdom. He is the Deputy Director of the Thai Film Archive (Public Organization) and the Secretary-General of Southeast Asia-Pacific Audiovisual Archive Association (SEAPAVAA). He is one of the programmers of the Thai Short Film and Video Festival and Silent Film Festival in Thailand.
Chew Tee Pao has been with the Asian Film Archive (AFA) since 2009. As Archivist, Tee Pao plans AFA’s preservation strategies and oversees the development of film collections, and curates film programmes to showcase these collections. He selects and oversees AFA’s film restorations. His publications on film preservation include an article in NANG magazine (Issue 8, Oct 2020) and a co-written chapter on “Independent Digital Filmmaking and its Impact on Film Archiving in Singapore” for the book Singapore Cinema: New Perspectives (2017).
Lisabona Rahman is a freelance consultant based in Berlin and in Jakarta. She works with institutions such as the Arsenal Institut, Indonesian Film Center amongst others, providing consultation on archival film treatment and restoration. Some of the projects that she has been involved in is the restoration of Usmar Ismail’s Lewat Djam Malam (1954) in 2012. Lisabona has been creating archival film screening programs for festivals, archives, and galleries, focusing on Southeast Asian cinema and women’s works. She is an associate individual member of the Southeast Asia-Pacific Audiovisual Archive Association (SEAPAVAA).