Mongolia
Mongolia Delegation
October 3 - October 14, 2010
Filmmaker: James Chressanthis, No Subtitles Necessary: Laszlo & Vilmos
Expert: Betsy McLane
“Fascinating exchanges took place on almost every topic relating to documentary and the ways in which it contributes to a free and democratic society. A fervent pitch session was held in gers (yurts) at a recreation of a Genghis Kahn camp for emerging filmmakers who had strong portfolio work and were looking for feedback and advice.” – Betsy A. McLane
Poster for the East-West Film Festival. The Festival Forum in Ulaan Baatar took place in this ger (yurt) on the steppe. Talented emerging Mongolian filmmakers had the chance to pitch to representatives of Arte and Cannes, as well as to Showcase delegates. All pitching sessions should be held in gers! (Photo by James Chressanthis ASC)
Traveling to Mongolia with the American Documentary Showcase was one of the most enlightening and moving adventures I have had. In his narrative, James Chressanthis already reported on the many events in which we participated and the people we met, so I will simply add a few of my observations.
The level of filmic energy and creativity that we found in Mongolia disabused me of any preconceptions I had. Knowing well how the former Soviet system of regional filmmaking and education existed throughout the USSR should have prepared me for the state of the art there, but somehow that knowledge had faded behind distorted stereotypes of Mongolia and Mongolians. History should also have reminded me that these are a proud and determined people, but this too had failed to penetrate my consciousness. I quickly became aware that the Mongolian film industry is vibrant, young in heart and mind, open to ideas, and aware of the field’s technical, craft and commercial aspects.
Ulaan Baatar
Photo by James Chressanthis ASC
The Embassy in Ulaan Baatar, particularly Yondongiin Otgon, is very involved with the cultural life of the region, and plays a critical role in enhancing access to American art and artists. Her efforts were the sturdy thread that bound our trip together and brought us closer to people and institutions. No amount of thanks is adequate for her continuous and conscientious effort. (I was, I admit, relieved when she did not order a dish of horse that was offered on the menu of a lovely traditional restaurant.)
The week was spent in the generous care of the first East Meets West Film Festival, organized by the Arts Council of Mongolia with support from the Asia-Europe Foundation and the Open Society Institute. The work of executive director Ariunna Tserenpil and of our hostess “Zaya” were central to making the festival a success. This signal event brought together filmmakers and experts from Europe and Asia, with the Showcase providing the only representation from the Western hemisphere.
East Meets West Film Forum & Festival
We professionals were given the opportunity to meet and work directly with the film community in groups ranging in size from 20 to 300, depending on the event. Participants included Mongolian producers, directors, executives, the press, government representatives, teachers and students, as well as the film-going public. Fascinating exchanges took place on almost every topic relating to documentary and the ways in which it contributes to a free and democratic society. Some events, such as a fervent pitch session held in gers (yurts) at a recreation of a Genghis Kahn camp, were for specific groups; in this case, emerging filmmakers who had strong portfolio work and were looking for feedback and advice. Others, such as the public screening of the wild, new fiction feature action/comedy Operation Tatar immersed us in the excitement of a hip, young Mongolian audience members as they responded to a movie sprung from and reflecting their own contemporary world.
Photo by James Chressanthis ASC
We foreign visitors were housed at the same hotel and bused around the city together. This created the “joi de fest” that so often happens when film people gather and get to know one another. For the Showcase delegation, this meant that our work reached individuals from countries other than Mongolia, and that we made contacts among a range of individuals. Films from Kyrgyzstan, Korea, Thailand, Kazakhstan, Poland and Slovenia screened, along with a very successful, large public showing of James’ No Subtitles Necessary: Laszlo and Vilmos.
During the Festival, we shared a lunch with the American Ambassador, Mark C. Minton, hosted by the French Embassy. There was a bit of melancholy when all except we Showcase delegates moved on from Mongolia. At least six of them headed to Pusan, Korea for the Asian Film Market, a key event in the Asian film world. The East Meets West Film Festival marks an important point in the rich history of Mongolian film culture. It offers a good way to connect the lives and work of young Mongolians with the US, and it should be supported in every possible way.
Unlike audiences in some Showcase countries, Mongolian filmmakers, young and older, are keenly aware of the power of documentary film. They are seeking ways to embrace that power to position Mongolia as a key participant in today’s world. We further observed this ambition as the delegation moved into its second week.
Photo by James Chressanthis ASC
James and I gave workshops, lectures and briefings at the School of Cinematography, the School of Media, and the sleekly modern NTV television studios. These venerable institutions are situated at the crux of an historical moment: The vestiges of Soviet film education/production programs remain, at the same time that a new, strong Mongolian film industry is ready to emerge. The filmmakers are keen to learn about global film activities, and very much want input and encouragement from the US. The students have thorough grounding in practice and theory, although they and their professors have not had the opportunity to see many American films made from the 1950s through the 1980s.
No Subtitles, with its many clips from fiction films of the 1960s, ‘70s and ‘80s piqued their interest in that era. It is mistakenly easy to underestimate how important glimpses of American life and its freedoms––as well as the aesthetics of that era––are in former Soviet Bloc countries. To be able to show how the American film world evolved through those decades, and to share in what was produced in the USSR during that period, would bridge many culture gaps on both sides.
James brought the students and television employees a professional contemporary take on how to best utilize the latest cinematography and directing techniques. His workshops for the advanced students were received with overwhelming enthusiasm. The large and well-equipped studio at the School of Cinematography was filled to over-capacity, and James reached over 200 individuals at that school alone, as people jammed the halls trying to get in.
Photo by James Chressanthis ASC
My lectures with first-year students at both the School of Cinematography and the School of Media and Broadcasting were on more general topics of independent documentary, freedom of speech and democratic society. The audiences numbered around 35 at each of my sessions. Films screened included three animation pieces: A Brief History of Wall Street, John Henry Unicorn and All Creative Work Is Derivative. Documentaries shown included The First Kid to Learn English from Mexico, Notes on Liberty and Burning the Future: Coal in America. The last proved to be the most provocative, given that Ulaan Baatar is shrouded in the dust of coal smoke from its massive power plants. The city is the coldest national capital on earth, and we were told that conditions in winter become so bad that one cannot see more than ten feet away. Even during our October, visit some people on the street wore masks to filter the pollution.
Pollution, global climate change, health care, environmental destruction and preserving religious and national identity are all crucial problems facing Mongolia, as they are for much of the world. The fact that the Showcase addresses these was embraced by our audiences. Climate change is forcing traditional nomadic herding families into tragically impoverished city lives in Ulaan Baatar––a situation we witnessed first-hand and which had explained more fully in the excellent and wrenching NTV film Zud (Winter Disaster). This film is of such high technical quality and universal importance that it deserves to be playing in festivals around the world.
Photo by James Chressanthis ASC
Because of Mongolia’s extensive unexploited natural resources––gold, coal and especially one of the world’s few deposits of rare earth––the nation is a target for the economic and political ambitions of world powers. Russia and especially China are making forceful efforts to control these resources, and the United States also has much at stake.
The American Documentary Showcase, working with the US Embassy and partners like the Mongolian Arts Council offer Mongolians a concrete example of alternatives to non-democratic economic development. Teaching by example, the Showcase shows quite simply how America is open to the voices of different, sometimes divided opinions on issues that concern Mongolians, along with everyone else.
As a film historian, one of the best surprises and delights was seeing a classic Mongolian fiction feature Shadow, directed by Begz Baljinnyam, who, having not seen the film since its release in 1986, attended the screening in a wheel chair. This film is a masterpiece by the standards of any national cinema. Its photography shimmeringly captures the mystery of the Mongolian steppe, and its story of a beautiful and resourceful woman, leading a solitary nomadic life, is timeless, yet unique. It was inspiring to see a simple love story made with artistic magnificence while sincerely honoring the strength of Mongolian womanhood. I believe very few people have seen it, and I would very much like to help it to reach the international acclaim it deserves.
Summary
Ariunaa Tserenpil, Executive Director Arts Council Mongolia speaks at closing ceremony East Meets West Film Forum & Festival at Red Ger Gallery, Ulaanbaata. Photo by James Chressanthis ASC
Seeing Mongolian films, old and new, was revelatory. As an historian, I was also especially delighted that the Embassy arranged a meeting with the “old masters” of Mongolian documentary film, including legendary Khishigt, who was a cameraman in the 1980s at National Mongol TV––and now a senior university lecturer––and Ms. Ambaselmaa, the retired first editor of Mongol TV. Simply being with them and sensing the continuous line of documentary tradition in Mongolia was moving. I would have liked to spend more time with them and to be better prepared to ask knowledgeable questions.
Their untold stories of filmmaking under the Soviets, along with the fact that the film archive of Mongolia has reportedly been ransacked and left penniless (as have almost all in the former USSR) ,are deeply distressing. I am seemingly powerless to assist the archival situation and frustrated that it is unlikely that anyone will soon record the historic accomplishments of Mongolian documentary.
An important part of the Showcase mission is the experiential learning afforded the delegates. I feel that my education in Mongolia was immense and sometimes wondrous. The landscapes woke emotions that I had forgotten how to feel. The people offered hospitality, intelligence and energy that are unique to their strong and singular Mongolian identity. The film community, much larger and more sophisticated than I knew, was direct and welcoming, and left me both humbled and honored. I hope to someday return.
Photo by James Chressanthis ASC
Mongolia based American Filmmaker Tim Coursen and Mongolian friend Oogii. East Meets West closing ceremony, Red Ger Gallery, Ulaanbaatar. Photo by James Chressanthis ASC
American cinematographer Martina Radwan and American Documentary Showcase director/cinematographer James Chressanthis, ASC, East Meets West closing ceremony, Red Ger Gallery, Ulaanbaatar.
Betsy McLane lecturing at University in Ulaan Baatar, Mongolia