My assignment today_23 Sept 2011
Today, I don’t have to go out for an assignment because my boss said that I can stay in the office trying to finish my story as much as I can.
Besides that, it’s my turn today to present in front of my bosses and colleagues. I’ve chosen a topic about Khmer manuscript to present since it’s one of Cambodian heritage.
I’m so happy after I’ve tried my best for this public speaking:)23/09/2011 By: Dara Saoyuth
- My assignment today_22 Sept 2011 (saoyuth.wordpress.com)
- Constructive Cambodian: The effect of wearing clothes of youth (saoyuth.wordpress.com)
Young and Married
Everyone seems to agree that Cambodia needs to modernise in one way or another, so why does the institution of marriage often seem to be the exception?
Cambodia is developing, however, early marriage, which means marriage before the age of 18 is still prevalent in the kingdom.
Sambo Manara, a History professor and deputy director of the History department at the Royal University of Phnom Penh says that early marriage is not just something that happens in the present day. He says that early marriages often happened when there was a need to increase the birth rate, especially during and after war. He gave the example of the post-Khmer Rouge regime period, when a lot of people had lost family members, so they tried to build up their families again by marrying.
Even though there is no more war within the country, 25 percent of women aged 20-24 inCambodiawere married before the age of 18, according to a publication from UNICEF published in 2005. The fear that their husbands might pass away before them is a factor raised by Sambo Manara to answer to the question why there are still couple marriage at young age.
“According to data from World Health Organization in 2009, Cambodian men can live around 58 years, so women think that they have to marriage early; otherwise, their husbands will not have enough time to educate their children, as well as take responsibility in bringing up the family,” said Sambo Manara.
Under the Cambodian Trafficking Law, article 36 says the penalty for anyone convicted of sex with a minor (under 15 years of age) is between five to ten years imprisonment. “From 16 to under 18, they can get married if their parents agree, and if they are over 18, they can marry freely,” says Executive Director of Cambodian Defenders Project Sok Sam Oeun, adding that they can file a complaint to the court if their parents do not allow them to get married once they are over 18.
Even though it is legally possible to get married in your teens, some advocate waiting until you are older.
Khut Khemrin, a doctor and clinical service manager at Marie Stopes International said that most health problems related to early marriage usually concern women. He said “women at the age of 18 years or under18, have organs which are still developing, so it might cause some problems, especially during delivery of a baby if they are pregnant at these ages”.
“One more thing is that Cambodian women, especially those living in countryside don’t have much knowledge regarding reproductive health, so they don’t know how to prevent unwanted baby, and they also don’t know how to take care of their foetus when they pregnant,” said Khut Khemrin.
He suggested that it’s a good idea for young couples to practice birth spacing until they reach the ages of having a safe pregnancy. “They can discuss with each other when they want to get children, so we can introduce them to the variety of ways of contraceptive methods since different methods have different results that can prevent you from having children for 3 years, 5 years or up to 10 years. The choice is yours,” said Khut Khmerin.
Having physical problems is one thing, but another thing is that a couple who marry early can easily break up their relationship or suffer domestic violence.
Chhoun Tray, a vice director at the Department of Psychology at the Royal University of Phnom Penh, said that at these ages people cannot control themselves effectively, so they easily get angry. “Sometimes, people are just angry at an everyday word and that can lead to a break up in a relationship,” said Chhoun Tray.
Ek Monosen, a talk show host for Radio FM 102 and vice rector at Human Resources University, said that the best way to prevent break ups of young couples is not to allow them to marry at young ages because then they don’t have much education and are not yet ready to be a father or mother.
However, he suggested that it can be alright for women to marry at these ages and not have problem in relationship if they choose to marry with a man who is older than her because a woman tends to listen and follow what someone older than her says.
But he said the husband should not be older than his wife than nine years because it will be more difficult if the gap is too much. Ek Monosen said that if a woman marries a husband who is more than 20 years older, it’s hard for them to get on with each other because when a wife wants to go to the cinema, a husband wants to go to pagoda.
Another concern a young couple has to think about before getting married is the future of their children. Sambo Manara said that children of young couples are most likely become dysfunctional because their parents don’t have enough capacity to educate them. “If they marry at the age of 15, 16, or 17, they themselves haven’t finished high school, so how can they use their knowledge to teach their children?,” said Sambo Manara.
Ek Monosen said there are four factors that will affect people’s future: family, social situation, education, and personality. He added that a couple will be happy if the above four elements are in harmony.By: Dara Saoyuth Additional reporting by: Touch Yin Vannith This article was published on LIFT, Issue 71 published on May 18, 2011
Khmer Unicode Project Presentation
For some of you that might interest in our project of Khmer Unicode Design, I’ve posted our project presentation slides below:
1. RAISING AWARENESS OF TYPOGRAPHY IN CAMBODIA (https://saoyuth.wordpress.com)
ភាសាជាមូលដ្ឋានសម្រាប់អត្តសញ្ញាណ វប្បធម៌ ដូច្នេះហើយវាសំខាន់ណាស់សម្រាប់មនុស្សក្នុងការរក្សានូវភាសារបស់ពួកគេឱ្យនៅរស់រាន្តមានជីវិត។
អក្សរខ្មែរគឺជាប្រព័ន្ធសរសេរដំបូងគេបង្អស់ដែលត្រូវបានប្រើប្រាស់នៅក្នុងអាស៊ីអាគ្នេយ៍។ ខ្មែរក្រហមបានបំផ្លាញនូវប្រពៃណីក៏ដូចជាការលេចឡើងនូវវប្បធម៌ទំនើប។ ជាលទ្ធផលគឺកម្ពុជាមានការខ្វះខាតនូវអ្នកជំនាញ សម្ភារៈ និងសៀវភៅសិក្សា។ ការកត់ត្រាដ៏ច្បាស់លាស់មួយស្តីអំពីអនុសញ្ញានិង ក្បួន ច្បាប់មួយចំនួន អាចឱ្យយើងប្រើប្រាស់សម្រាប់ជាគោលការណ៍ណែនាំសម្រា ប់អ្នករចនាក្រាហ្វិកសម័យបច្ចុប្បន្នក្នុងការធ្វើការជាមួយនឹងពុម្ពអក្សរខ្មែរដែលបានបាត់បង់។
ពុម្ពអក្សរខ្មែរ គឺជាពុម្ពអក្សរផ្លូវការនៅក្នុងប្រទេសកម្ពុជា។ ទោះបីជាយ៉ាងណាក៏ដោយ យើងសង្កេតឃើញថាមានការសរសេររួម បញ្ចូលគ្នារវាងភាសារផ្សេងៗគ្នាដូចជាខ្មែរ ចិន កូរ៉េ ឡាទីន។ល។
ភាគច្រើននៅក្នុងការបោះពុម្ពផ្សាយ ការស៊ីញ៉េ និងក្នុងការទំនាក់ទំនងប្រចាំថ្ងៃ ត្រូវបានសរសេរ ជាពុម្ពអក្សរចម្រុះគ្នា។ ការរួមបញ្ចូលគ្នាយ៉ាងចុះ សម្រុងរវាងអក្សរផ្សេងៗគ្នានេះមិនត្រឹមតែបង្កើត ឱ្យមានបញ្ហាផ្នែកបច្ចេកទេសតែប៉ុណ្ណោះទេ ថែម ទាំងជាឧបសគ្គមួយសម្រាប់អ្នករចនាក្រាហ្វិកផងដែរ ដែលពួកគេនៅតែមិនទាន់អាចស្វែងរកឫក៏ អាចទទួលស្គាល់ទាំងស្រុងអំពីការរួមបញ្ចូលគ្នានេះ។
ចាប់តាំងពីមានការដា ក់ឱ្យប្រើប្រាស់ប្រព័ន្ធខ្មែរUnicode យើងមានលទ្ធភាពក្នុងការបោះពុម្ពនិងប្រើប្រាស់អក្សរខ្មែរនៅលើប្រព័ន្ធInternetបានកាន់តែងាយស្រួល។ សព្វថ្ងៃនេះប្រភេទតួអក្សរខ្មែរជាច្រើនដែលមានគុណភាពយ៉ាងល្អ ត្រូវបានគេបញ្ចេញឱ្យប្រើប្រាស់។ ទោះបីជាយ៉ាង នេះក្តី នៅក្នុងការប្រៀបធៀបទៅនឹងការកើនឡើងយ៉ាងឆាប់រហ័សនៃការរចនាអក្សរឡាទីន យើងសង្កេតឃើញថាពុម្ពអក្សរខ្មែរជាលក្ខណៈឌីជីថលនៅតែមិនត្រូវបានរកឃើញក្នុងន័យកែលម្អនិងធ្វើឱ្យមានច្រើនបែបខុសៗគ្នា។
ជំហ៊ានដ៏សំខាន់មួយដើម្បីសរសេរ ធ្វើគំនូរព្រាង និងរចនាអក្សរ ខ្មែរ គឺធ្វើការរក ឱ្យឃើញនូវប្រវត្តរបស់អក្សរ និងការប្រើប្រាស់របស់វាពីំមួយជំនាន់ ទៅមួយជំនាន់។ ការឱ្យតម្លៃទៅលើអតីតកាល ជួយយើងឱ្យអាចយល់ដឹងពីចម្លើយនិងប្រតិកម្មទៅនឹងការសម្រេចចិត្តក្នុងពេលបច្ចុប្បន្ន។ អ្នកជំនាញខាងប្រវត្តតួអក្សរនិងអ្នកជំនាញខាងសរសេរ អក្សរដៃ គឺជាប្រភពដ៏សំខាន់ក្នុងការធ្វើការពាក់ព័ន្ធជាមួយនឹងអក្សរ ក្នុងគោលបំណងដើម្បីរក្សានូវគតិបណ្ឌិត ការបញ្ហាញពីអត្តសញ្ញាណតាមរយៈអ្វីដែលអាចមើលឃើញ។
ការប្រមូលផ្តុំឧទាហរណ៍ជាច្រើនទាក់ទងនឹងប្រភេទអក្សរដែលត្រូវបានប្រើប្រាស់ក្នុងពេលបច្ចុប្បន្ន ជួយយើងឱ្យយល់ដឹងកាន់តែច្បាស់ពីពុម្ពអក្សរខ្មែរ និងលើកទឹកចិត្តក្នុងកិច្ចពិភាក្សាតាមន័យរចនាក្រាហ្វិក។ជាឧទាហរណ៍ ការសរសេរអក្សរដៃចាប់ផ្តើម បាត់បង់បន្តិចម្តងៗពីលើដងផ្លូវដូច្នេះការថត រូបពីស្លាកយីហោផ្សេងៗដែលសរសេរដោយដៃ គឺជាឱកាសចុងក្រោយក្នុងការថែរក្សានូវប្រភេទពុម្ពអក្សរផ្សេងៗគ្នា ក៏ដូចជាទុកសម្រាប់ ជាឯកសារផងដែរ។
គំរោងនេះមានគោលបំណងលើកទឹកចិត្ត ដល់អ្នករចនាក្រាហ្វិក ដើម្បីធ្វើការស្រាវជ្រាវ ប្រមូលផ្តុំក្បួនច្បាប់ផ្នែកអក្សរដ៏សម្បូរបែប និងធ្វើការដកពិសោធន៍ជាមួយតួអក្សរនិងពុម្ពអក្សរផ្សេងៗ ដើម្បីសម្រេចបាននូវការរចនាថ្មីដែលមានប្រសិទ្ធភាព។ ឧបសគ្គចម្បងនោះគឺការស្វែងរកតុល្យភាពរវាងកំណែប្រែថ្មី និងការថែរក្សានូវការរួមបញ្ចូលគ្នារវាងអក្សរនីមួយៗ។
Read English Version by CLICKING HERE
RAISING AWARENESS OF TYPOGRAPHY IN CAMBODIA
A Graphic Design PerspectiveInitiated by: Dara Saoyuth, Christine Schmutzler…….. Phnom Penh 2010 LANGUAGE is fundamental to CULTURAL IDENTITY. Therefore it is important that people keep their own language alive.
TYPOGRAPHY shapes language and makes the written word visible.
KHMER SCRIPT is one of the earliest writing systems used in Southeast Asia. The Khmer Rouge destroyed the traditional as well as an emerging modern culture. The result is a lack of human expertise, materials and books.A comprehensive DOCUMENTATION of conventions and rules as a guideline for contemporary graphic designers working with Khmer Type is missing.
Khmer is the official script in Cambodia. However, there is a COEXISTENCE of very different writing systems such as Khmer, Chinese, Korean, Latin…A lot of publications, signs and daily communication is MULTI-SCRIPTUAL. The harmonious combination of these different scripts is not only a technical problem but also a challenge for the Graphic Designer—still un-explored or even not acknowledged as an issue at all.
Since the implementation of Khmer Unicode Standard it is possible to publish and access Khmer script online. Now an increasing number of KHMER UNICODE FONTS of high quality have been released. However, in comparison to the exponential growth of Latin type designs, Khmer digital typography and lettering is still unexplored in terms of visual refinement and variety.
In order to write, layout and design Khmer letters one important approach is to explore the history of the script and it’s application over the time—an APPRECIATION OF THE PAST helps to understand responses and reactions to decisions made in the present.
Experts of script history and hand-writing craftsmen are an essential source for working with Type. The aim is to preserve this wisdom, identify visual attributes such as anatomy and measurements, investigate legibility and stylistic diversity and document the rules and conventions for a conciously use in Graphic Design.
Gathering everyday-type examples explores the rich repertoire of letter forms, raises awareness of the detail and serves as a stimulation for discussion and inspiration for Graphic Design ideas.For instance the hand-lettered signs are disappearing from the street. To take photos of this examples is the last chance to preserve this diversity of Type treatment, and keep it as a source to take hold.
The project aims at encouraging Graphic Designers to explore the rich typographic tradition and repertoire of letterforms and experiment with type and lettering in order to create contemporary, effective design. The challenge is to find a balance between innovation and retaining the integrity of the script.
A cooperation of different disciplines–history, language, hand-lettering, Type Design and Graphic Design and a cross-cultural collaboration between experts with different script backgrounds aims at raising awareness of “Good, bad and ugly Type treatment”An intercultural dialogue asking questions such as“What makes a font legible and what makes it beautiful?” creates sensitivity for detail and a mutual understanding and respect for the nature of the different scripts.
Read Khmer Version by CLICKING HERE
KON appears on WEEKEND issue of The Cambodia Daily
An article about the magazine, KON: The Cinema of Cambodia, appears on WEEKEND issue of the Cambodia Daily newspaper issue 665 published on December 11-12, 2010. Though it’s months after the magazine launching, still, I feel happy to see more and more people start to write about it.
Let’s check the original article below:Dara Saoyuth 13/12/2010
- KON Magazine Launching (saoyuth.wordpress.com)
- KON appears on 7D of the Phnom Penh Post newspaper (saoyuth.wordpress.com)
- Launch of “Kon. The Cinema of Cambodia” (http://southeastasiancinema.wordpress.com/)
Photos in the aftermath of Koh Pich accident
Since I was at my hometown during Monday night’s stampede on Diamond Island’s north bridge, I could not capture the event.
Yesterday afternoon, as soon as I arrived the city, I went to the Phnom Penh Post office and was assigned to assist a foreign reporter in shooting documentary related to the accident.
I went to the Cambodia – Russian Khmer Friendship Hospital to the hospital where some bodies and victims were placed. I later went to Koh Pich to see the blessing ceremony for the deceased.
Below are some photos and video clips I shot in the aftermath of the tragedy.
KON appears on 7D of the Phnom Penh Post newspaper
An article about the magazine, KON: The Cinema of Cambodia, appears on SEVENDAYS (7D) issue 63 published on October 22, 2010. Though it’s a week after the magazine launching, still, I feel happy to see more and more people start to write about it.
Let’s check the original article below:
As Cambodian film seeks revival, a new generation takes in its varied past. Students from the Royal University of Phnom Penh (RUPP) recently released their magazine KON: The Cinema of Cambodia, a collection of 16 articles spanning the 15-year “Golden Age” of the 1960s-70s, the propaganda films of the Khmer Rouge and the decline of Cambodian film, as well as profiles of notable filmmakers and actors.
At an event at Meta House last Friday that included clips from wide swathe of Cambodian films, Hong Channpheaktra, one of the student designers, said that he was inspired by what he learned from past filmmakers. “We need to be creative, our generation,” he said. “We can do that, too. We have to make [films] as great as the past.”
Tilman Baumgärtel, a visiting professor at the RUPP and supervisor for the project, said that he wanted to give students “something to identify with in a positive way – not always on the Khmer Rouge or poverty”.
Hong Channsopheaktra, who has written for the Post’s youth magazine LIFT, said that he was most taken aback by “the techniques of the producers” of the 1960s and 70s. His favourite film of that period, when about 400 films were made and Phnom Penh boasted 30 cinemas, was Thida Sok Pous (Snake Girl). Dy Saveth, who played the starring role, had to wear a wig made of real snakes in the film. “Once, a snake bit me when I pulled its tail,” she said in a profile of her in KON. “I later found its tooth in my face.”
Baumgärtel, a film scholar by training, said the “ingenuity” of filmmakers of that period in making fantasy films – based often on Khmer folk tales and myths – “with quite limited means was impressive to me”. KON includes details of some of the low-cost techniques of director Ly Bun Yim who created an earthquake, a flying pig, a giant face, and other effects.
But even if it’s not the magazine’s focus, it would be difficult to skip over the Khmer Rouge period, and an article in KON discusses the 78 propaganda documentaries made with Chinese support.
Director Yvon Hem, who directed, among others, the first Cambodian film after the Khmer Rouge, Sror Morl Anthaakal (Shadow of Darkness) in 1987, attended KON’s release. He said he was proud that these young people would replace his generation of filmmakers, and urged them to make films about contemporary Cambodia that would make foreign audiences curious about the country. “That’s success in film,” he said. “Put a question in it.”
KON is available at Monument Books for $1.50.Written by: Thomas Miller Published on 7DAYS (Issue 63, October 22, 2010), The Phnom Penh Post
សមាគមជនរងគ្រោះដោយរបបកម្ពុជាប្រជាធិបតេយ្យ ហៅកាត់ថា “សមាគមក្សេមក្សាន្ត” រៀបចំធ្វើមហាសន្និបាត និងសន្និសីទសាធារណៈរបស់ខ្លួន ក្នុងគោលបំណងផ្សព្វផ្សាយពីការបើកសម្ភោធចាប់ដំណើរការសមាគម។ សន្និសីទរយៈពេលជាង២ម៉ោងនេះ ប្រារព្វធ្វើឡើងកាលពីថ្ងៃទី២០ខែមីនាឆ្នាំ២០១០ នៅឯទីស្នាក់ការរបស់អង្គការNGO Forum of Cambodia ក្រោមការចូលរួមយ៉ាងច្រើនកុះករពីសំណាក់មហាជនទូទៅ ទាំងប្រជាជនខ្មែរ ក៏ដូចជាជនបរទេស មន្រ្តីរាជការ អង្គការក្រៅរដ្ឋាភិបាល និងអ្នកយកពត៌មានមកពីស្ថាប័ននានា។
“សមាគមក្សេមក្សាន្ត” គឺជាសមាគមដំបូងគេដែលធ្វើការជាមួយនឹងជនរងគ្រោះក្នុងរបបកម្ពុជាប្រជាធិបតេយ្យ ក្នុងគោលបំណងស្វែងរកការពិត និងផ្តល់ជាសំណងដល់ជនរងគ្រោះទាំងនោះ។ ពាក្យស្លោករបស់សមាគម គឺ “រួមគ្នាដើម្បីការពិត យុត្តិធម៌ សុខុដុមនីយកម្មសង្គមវប្បធម៌សន្តិភាព និងការសះជាផ្លូវចិត្ត”។
លោក ជុំ ស៊ីរ៉ាត់ ជាអនុប្រធានរបស់សមាគមក្សេមក្សាន្ត បានពន្យល់ទាក់ទងនឹងឈ្មោះរបស់សមាគមយ៉ាងដូច្នេះថា “បានជាពួកយើងជ្រើសរើសយកឈ្មោះ ក្សេមក្សាន្ត ព្រោះនៅក្នុងភាសាខ្មែពាក្យ ក្សេម មានន័យថា សេចក្តីសុខសប្បាយ រីឯ ក្សាន្ត មានន័យថា ភាពស្ងប់ស្ងាត់ចាកពីទុក្ខ ដែលវាសមស្របនឹងទស្សនវិស័យរបស់សមាគមគឺ ធ្វើឱ្យបានសេចក្តីសុខក្សេមក្សាន្តនៅក្នុងជាតិនេះនឹងនៅជាតិមុខ”។
សមាគមក្សេមក្សាន្ត មានបំណងប្រាថ្នាធំៗចំនួន៣គឺ ទីមួយចង់ធ្វើការអភិរក្សឆ្អឹងនៅទួលស្លែង ជើងឯក និងទីឃុំឃាំងដទៃទៀត រីឯទី២គឺ សាងសង់ស្តូបដែលមានឈ្មោះជនរងគ្រោះចំនួន ១៧០០០នាក់ដែលទទួលរងទារុណកម្មនិងសម្លាប់នៅទួលស្លែងនិងជើងឯក ចំនែកទីបីនោះគឺធ្វើពិធីបួងសួងបង្សុកូលនៅទួលស្លែងនៅថ្ងៃប្រកាសសាលក្រមឌុច។
រហូតមកទល់នឹងពេលនេះសមាគមក្សេមក្សាន្តទទួលបានសមាជិកចំនួន៤៥១នាក់ ដោយឡែកបុរសចំនួន១២៦ ស្រ្តី៣២៥ ហើយសមាជិកម្នាក់ៗត្រូវបង់ជាវិភាគទានចំពោះសមាគមចំនួន៤០០០រៀលក្នុងមួយខែ ព្រោះសមាគមចង់ពឹងផ្អែកលើមធ្យោបាយផ្ទាល់របស់សមាជិកសម្រាប់ប្រតិបត្តិការណ៍ពីមួយថ្ងៃទៅមួយថ្ងៃ តែបើសមាជិកមិនមានលទ្ធភាពបង់ក៏មិនជាបញ្ហាអ្វីដែរ។
សមាជិករបស់សមាគមភាគច្រើនមានទីលំនៅនៅតាមបណ្តាខេត្ត តែពួកគេបានឆ្លៀតមកចូលរួមក្នុងកិច្ចប្រជុំនានារបស់សមាគមដែលជាទូទៅធ្វើឡើងនៅរាជធានីភ្នំពេញ។ អ្នកស្រីសំ ស៊ីថា ជាសមាជិកម្នាក់របស់សមាគម បានឱ្យដឹងថានៅពេលដែលចូលក្នុងសមាគមនេះ អ្នកស្រីនឹងអាចទទួលបាននូវភាពយុត្តិធម៌ ព្រមទាំងអាចជួយដល់ជនផ្សេងទៀតដែលធ្លាប់ជាជនរងគ្រោះក្នុងរបបខ្មែរក្រហមដូចជាអ្នកស្រីបាន។ ដោយមានទីលំនៅនៅឯខេត្តព្រៃវែង អ្នកស្រីបញ្ជាក់ថាអ្នកស្រីនឹងឆ្លៀតមកចូលរួមនូវរាល់ការប្រជុំរបស់សមាគម ហើយអ្នកស្រីក៏មានគោលបំណងមួយទៀតគឺចង់ចងក្រងនូវខ្សែជីវិតផ្ទាល់ខ្លួននៅក្នុងរបបខ្មែរក្រហម ឱ្យសមាគមជួយបោះពុម្ពដើម្បីទុកជាឯកសារនិងភស្តុតាងសម្រាប់កូនចៅជំនាន់ក្រោយ។
អ្នកស្រី គាម ស៊យ ធ្វើដំណើរតាំងពីខេត្តក្រចេះមករាជធានីភ្នំពេញដើម្បីចូលរួមក្នុងសន្និសិទនេះ។ អ្នកស្រីស៊យ និយាយថាគាត់បានទទួលដំណឹងពីសមាគមថាមានការប្រជុំនៅថ្ងៃនេះ រួចក៏ធ្វើដំណើរមកតែម្តងព្រោះគាត់ពិតជាចង់ចូលរួមនៅក្នុងសមាគមនេះមែនទែន។ អ្នកស្រីបន្តទៀតថា ប្រាក់វិភាគទាន៤០០០រៀលក្នុងមួយខែជាតម្លៃមួយសមរម្យ សំខាន់គឺធ្វើយ៉ាងម៉េចឱ្យតែសមាគមអាចដំណើររការទៅមុខបានជាស្ថិតស្ថេរអ្នកស្រីពេញចិត្តនឹងចូលរួម។
ក្នុងតួនាទីជាអនុប្រធានផ្នែករដ្ឋបាលរបស់សមាគមក្សេមក្សាន្ត លោកអ៊ុច ស៊ុនឡាយ និយាយថាគាត់មានការសប្បាយរីករាយណាស់នៅពេលដែលឃើញមានសមាជិកមកចូលរួមក្នុងការប្រជុំ និងម្នាក់ៗសុទ្ធតែស្ម័គ្រចិត្តចូលវិភាគទានជួយសមាគមយ៉ាងច្រើនកុះកររបៀបនេះ។ មានទីលំនៅនៅឯខេត្តក្រចេះ លោកស៊ុនឡាយ ឱ្យដឹងថាគាត់ធ្វើការនៅក្នុងសមាគមនេះជាអ្នកស្ម័គ្រចិត្តដោយមិនយកប្រាក់កំរៃអ្វីឡើយ តែលោកក៏ដូចជាសមាជិកដទៃទៀតដែរប្រថ្នាតែម្យ៉ាងគឺសូមឱ្យសមាគមអាចដំណើរការទៅមុខដោយរលូននិងស្ថិតស្ថេរ៕
Written by: Dara Saoyuth
Written date: 26/03/2010
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“Lost Loves” – a true story in Cambodia
Posted by Saoyuth
One shot from "Lost Loves" / Source: Internet
Hearing its’ title, Lost Loves, at least some of you may imagine that the movie is about someone who lost people they love. Your guest is right!
“Lost Loves” is a feature film based on real life experience of the film producer’s wife Kauv Sotheary who is also star in a film as Amara.
The film start with an old woman standing near a pagoda recalls her past life in Khmer Rouge Regime. Then the movie take us to early April 1975 showing Amara living with her grandfather, brothers and children in a middle class family in Phnom Penh. Amara’s grandfather is a former Cambodian army general and her husband is a general in Lon Nol regime. Amara’s grandfather is asked by some high ranking officers to leave the country because they know that their soldiers cannot win against Khmer Rouge; however, he decides to stay in Phnom Penh with his family because he wants to keep his fame.
Khmer Rouge takes over Phnom Penh in 17 April, 1975, and happiness in Amara’s family starts shaking when Khmer Rouge soldiers kill government soldiers who guard her house and force her family to leave the house.
Members in her family start packing their belongings and leaving their house with a car that they cannot drive but pushing it forward since too many people leaving the city by walking on the street. They stop at a pagoda where lots of city people are told to stay there waiting for the top people to decide where they should go after being evicted. The follow day, her family departs the pagoda to a village already arranged by Angkar and on the way there, her grandfather is took to kill by Khmer Rouge soldiers because they will not let former high ranking officers alive.
Her family members are separated. Her little children have to stay with the other villagers’ children, her brother has to work and stay with men group, and her oldest daughters has to stay in youth group.
All of her family members have to struggle to survive but some of them leave her one after another because of different reasons including illness, and killing.
This movie not only shows the writer’s tragedy, but also reflects how society at that time looks like since most people in Pol Pot regime also face the same things of losing their relatives as Amara.
As a Cambodian film producer, Chhay Bora keep repeating that “we are not Hollywood” and he said the film was made on a very low budget.
“Our film crew and I didn’t stay in hotel or eat at any restaurant during the shooting because we have to think of the money we have,” said Chhay Bora at Bophana Center this evening after the film screening; adding that they cook their own foods and stay with villagers to save the budget.
Despite the fact that the movie was shot by Cambodian with a low budget, but I can say this achievement is great and deserves commendable from the audiences. You guest what! Some people including my friends burst into tears at some scenes during the screening and I think that they may feel pity for the actors.
So far, this film have been shown in some foreign film festival and Chhay Bora said he will fix some little point in the movie for an example, the song.
“Script, acting, directing, and location are very important points to consider if you want to produce a good film,” Chhay Bora told the audiences his experiences in producing Lost Loves.By: Dara Saoyuth 22/02/2011
Posted in Commentary, Personal Interest/Experience
Tags: Amara, Cambodia, chhay bora, Cinema of Cambodia, Communist Party of Kampuchea, Khmer Rouge, Lon Nol, Lost Loves, Meta House, Phnom Penh, Polpot