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- Patrasche, a Dog of Flanders - Made in Japan evokes several different (imaginary) representations of Flanders based on the novel. The story originally reflects the love of Ouida for dogs and art, being the owner of 15 dogs who received lobster for lunch. Yet the story is above all a British critique on Flanders as a barbarian, heartless and utterly unchristian place. By contrast, the Japanese perceive of a heroic and tragic Flanders through the story of Nello: he is the western samurai who dies with nobility and Patrasche is the symbol of friendship and loyalty, values, which are vital to the Japanese. In Flanders, Nello's noble way of dieing is no part of their cultural heritage. The film blends different visual styles. Starting from a small house in Flanders the author-narrator embarks on a virtual trip trough all the images created by the novel. Scenes from unique 35mm and 16mm prints of all USA films based on the book, State of the art anime scenes of the Japanese series, Numerous illustrations found in first print books from the UK, USA and Japan, Laterna magica images,... Through the story of 'A dog of Flanders' and its many images, the film continuously flirts with imaginary, fictionalized and hilarious versions of Flanders. It is therefore clear that this film is not only destined for "Flemish" viewers. Patrasche, a Dog of Flanders - Made in Japan is a laboratory of the image. It is a prism, through which the viewer can experience how flu reality is and how a small book can stigmatize | create an entire culture. STATEMENT DIRECTORS Being born in Flanders, we are interested in stories starting from our own experience and taking us on a journey abroad - hereby creating intercultural links between us and others. The story about a dog of Flanders interests us particularly because its impact worldwide is so unknown in Belgium. What does this say about "us"? Why don't "we" see or understand this impact? And even more interesting: how do others see "us"? How do they imagine "us"? What cultural values are intertwined with their imagination of "us"? Through the story of the dog of Flanders we try to go deeper and evoke these cultural values of the British, the Americans and especially of the Japanese. Japan is a country that has been a source of inspiration for both of us for many years. Didier is an 'otaku', growing up in the seventies with Japanese manga. Through this film, he intertwines his personal fascination for one of the first large scale animated series, his desire to collect and analyse films and his own country. An is a visual anthropologist and weaves her interests in cultural differences, with the questioning of the documentary genre itself. We think of the audiovisual as a playful toolbox. Each specific story creates a specific use of camera, sound, editing. With Patrasche, a Dog of Flanders - Made in Japan we appreciate the challenge of combining different types of images - archival footage, animation and live interviews - in elaborating a personalized point of view. We treat these different images as a caleidoscope, a laboratory of images of the author-narrator who explores, analyses, compares and recreate. Contrasts between imaginary communities and what people experience are fascinating to us. In Patrasche, a Dog of Flanders - Made in Japan this contrast is the result of the imagination by the Japanese and the Americans based on the novel of "Dog of Flanders" versus the ignorance of the Flemish of (the popularity of) this book. We think these stories are crucial in our contemporary society in which previously obvious borders are fading. Influenced by globalization, the network society, and new technologies, people and their communities undergo drastic transformations in a relatively short period of time, and representations are always part of this process.
- San lives on the border between dream and reality. He does not have any friends and his father is absorbed in his job. When San meets the attractive Isabelle, he falls head-over-heels in love for the first time. Unfortunately, rebellious Isabelle is not at all interested in him. Misunderstood, San escapes from this harsh reality. The unpredictable Quixote is waiting for him there. He has an ingenious plan to conquer Isa's heart, nevertheless. Until San witnesses a drugs deal that unravels, causing irreversible consequences. In the quest for the offender, all of the traces lead to the disappeared San...
- Flirting with fact and fiction, using old school animation techniques and 'State of the Art' digital image processing, Didier Volckaert and An van. Dienderen create a story about an archive in Ghent, named 'Ephemera', its conceiver Ferdinand Vander Haeghen and the Ghent shop street "Veldstraat". This collection belongs to the University of Ghent and consists of very diverse pieces, such as a wing of a bird, bags to contain food, medicines, and fruit, artful leaflets, fragile books and prestigious visit cards. This collection was created by Ferdinand Vander Haeghen (1830-1913+). Fascinating about it was the credo of this genius librarian: "Do not throw away any document." This contrasts sharply with the gigantic quantities of terabytes, which have been made possible by the digital world. In the spirit of this crazy but innovative librarian, the filmmakers dive into this collection to evoke the Veldstraat. They take the viewer on an expedition to People with Stories, and to the history of the street. Baker Bloch, former workers of the shopping hall INNO/GB, several shopkeepers, the director of the Ghent department for Monument Care and the current principal librarian of the University of Ghent, they all present their story on how seemingly unnoticeable daily life in de Veldstraat has drastically changed over the years.
- A documentary as a 'parcours', a trip towards the not knowing. What started as a classical report of the Mosuo - a matriarchal tribe in China - became a poetic and self-reflective encounter. Where the neutral camera evolve into a playful and hypersubjective member of the emotional interaction between the Mosuogirls, the crew and the equipment. A curiosity towards a matriarchal society drove the director to the Mosuo, in China. Their society is build on the principle of the axia-relationship, a bound between 'visitors of the night'. This means that a man only stays in his wife's house at night. During the day he works for the benefit of his grandmother. Man and woman don't have any economical obligations towards each other. Their unique relationship is based on love only. A Mosuo woman can have more than one axia. This is called polyandry. Due to funding by the Han-government, the Lugu-region has turned into a major touristic area, where tradition and modernity clash into one another. The film is not only a report on the relationship between the culture of the 'visitors of the night' and prostitution. It also reveals the distance between textual knowledge and the experience of a cinematographic journey.
- Letter Home is a film letter in which the touristic images of the artist's trip to Japan are digitally distorted.
- China girls (or Lili's) serve as models in a technical exercise preceding the actual filming, namely the calibrating of the colors of the camera and printing process based on caucasian skin.