Why does one go to the cinema? For some, it is to escape the reality of life. For Anika Tokarchuk, cinema is the reality of her life. For the past six years, her existence has revolved around the shifting images, sounds, and characters on the screen. Recently, the Canadian filmmaker who is now living in Taipei debuted her documentary, Life as Cinema, on Public Television Service (PTS,
What started off in 1998 as a documentary on the making of The Cup by Dzongsar Khyentse Rinpoche led Tokarchuk on a journey from Canada through Europe, India and finally to Taiwan. Her project has turned into a three-part series, drawing on support from respected members of the Taiwanese film industry and various buddhist organizations.
"This documentary started off as Rinpoche's idea," Tokarchuk said. "Of course, I really was excited about it, but I had no idea how incredible and how wild the adventure would be. I've lived through this whole amazing experience while making this film, and by doing so I think it has molded the character of the film."
PHOTO COURTESY OF ANIKA TOKARCHUK,IMAGE LANTERN PICTURES LTD
At first, the road was smooth. With a conditional approval for funding through the Canadian film and television industry, Tokarchuk left to begin shooting in India. Six months later, however, on the same day she received permission to interview the Dalai Lama, the offer for funding was unexpectedly withdrawn. Having explored all avenues for financial support before leaving Canada, Tokarchuk felt returning was not an option. To make things worse, she had only US$200 remaining and no return flight.
"It really felt like a dead end to go back. And plus I had my film 80 percent made, it's kind of like if you are seven months pregnant you can't have an abortion, you have to go through with it," she said.
Contemplating her next move, Tokarchuk remained in Dharamshala, where she met a number of individuals teaching English in north-east Asia. Taiwan, a prosperous English teaching market and a country with a growing relationship with Tibet -- both in funding and number of dharma students -- seemed to offer the best environment for Anika's film.
PHOTO COURTESY OF ANIKA TOKARCHUK,IMAGE LANTERN PICTURES LTD
A coincidental meeting with the well-known Taiwanese director, Stan Lai (
Two years went by and Tokarchuk took up residence in Taiwan as an English teacher. After earning enough money to furbish her own home film studio, she was ready to begin the arduous job of editing. An increasingly visible future slowly emerged through a web of connections, one of which is Hung Hung (
Associate director of Life as Cinema, Hung encouraged
PHOTO COURTESY OF ANIKA TOKARCHUK,IMAGE LANTERN PICTURES LTD
Tokarchuk to "go wild" with the 200-hours of footage. "It is much more than a film to her," said Hung, "It is a journey of discovery and the Buddhist dharma that she was practicing through the making of this film. She needed to continue, to finish the project."
Hung said that, to some people, the film might be too experimental in its approach. "Some films need to be seen twice to be understood," he said, implying it's not easy to digest a real meal after being fed junk food for so long.
Sylvia Feng (
PHOTO COURTESY OF ANIKA TOKARCHUK,IMAGE LANTERN PICTURES LTD
One scene in the documentary covers a discussion held at the famed Wisteria Tea House in Taipei. Feng said, "No Taiwanese photographer could capture the aura of Wisteria Tea House [a popular meeting place for"intellectuals'] better than Anika [Tokarchuk] ... her visualization of the intellectual culture in Taipei may spark enlightenment for Taiwanese directors."
The appreciation of Tokarchuk's film, however, goes beyond just artistic or intellectual circles. The Hao Ran Foundation (
Another supporter, Su-Jei Own (
PHOTO COURTESY OF ANIKA TOKARCHUK, IMAGE LANTERN PICTURES LTD
Tokarchuk's experience of making the film changed her perceptions, as she thought they would. "The experience that I've gone through has been my version of living through the themes in Life as Cinema. It really has been this experience of living in this amazing reality."
That US assistance was a model for Taiwan’s spectacular development success was early recognized by policymakers and analysts. In a report to the US Congress for the fiscal year 1962, former President John F. Kennedy noted Taiwan’s “rapid economic growth,” was “producing a substantial net gain in living.” Kennedy had a stake in Taiwan’s achievements and the US’ official development assistance (ODA) in general: In September 1961, his entreaty to make the 1960s a “decade of development,” and an accompanying proposal for dedicated legislation to this end, had been formalized by congressional passage of the Foreign Assistance Act. Two
Despite the intense sunshine, we were hardly breaking a sweat as we cruised along the flat, dedicated bike lane, well protected from the heat by a canopy of trees. The electric assist on the bikes likely made a difference, too. Far removed from the bustle and noise of the Taichung traffic, we admired the serene rural scenery, making our way over rivers, alongside rice paddies and through pear orchards. Our route for the day covered two bike paths that connect in Fengyuan District (豐原) and are best done together. The Hou-Feng Bike Path (后豐鐵馬道) runs southward from Houli District (后里) while the
President William Lai’s (賴清德) March 13 national security speech marked a turning point. He signaled that the government was finally getting serious about a whole-of-society approach to defending the nation. The presidential office summarized his speech succinctly: “President Lai introduced 17 major strategies to respond to five major national security and united front threats Taiwan now faces: China’s threat to national sovereignty, its threats from infiltration and espionage activities targeting Taiwan’s military, its threats aimed at obscuring the national identity of the people of Taiwan, its threats from united front infiltration into Taiwanese society through cross-strait exchanges, and its threats from
March 31 to April 6 On May 13, 1950, National Taiwan University Hospital otolaryngologist Su You-peng (蘇友鵬) was summoned to the director’s office. He thought someone had complained about him practicing the violin at night, but when he entered the room, he knew something was terribly wrong. He saw several burly men who appeared to be government secret agents, and three other resident doctors: internist Hsu Chiang (許強), dermatologist Hu Pao-chen (胡寶珍) and ophthalmologist Hu Hsin-lin (胡鑫麟). They were handcuffed, herded onto two jeeps and taken to the Secrecy Bureau (保密局) for questioning. Su was still in his doctor’s robes at
RSS