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In Myanmar, filmmaker RPT-FEATURE-Gingerly is testing the boundaries of liberty.
In front of a computer in a confined space in Yangon, Zay Par says he is trying out the limits of the newly discovered art liberty that has developed since the handover of control to a hand-picked civil regime in 2011 - but very cautiously. Its main character is an active who was imprisoned during the students' revolt.
When he shared his experiences with them, there are recurrences until 1988. It would have been outlawed only a few years ago, when the army ruled the land, and the maker and filmmaker would have been in danger. To this day, the reform of a quasi-civilian regime goes so far and the filmmakers are hesitant to address sensible issues.
There' has been an happening of information instrumentality, but show are photograph easily on opinion and heavily on act or fun. The first to show a scene of the 1988 riot, when the government took at least 3,000 lives and detained several thousand others, some of them as prisoner politicians for years, will be Zay Par's work.
It is not just the censorship of the administration that he is concerned about, Zay Par said: "He believes that the general population is not yet prepared for graphical images of police brutality. National militia still oppose back-country governments, while Buddhist-Muslim conflicts last year claimed the lives of more than 200 more.
The Myanmar Motion Picture Organization says Myanmar had a lively motion picture community and 244 theaters in the 1950'. It was the age of gold," recalls San Shwe Maung, a 78-year-old actress and stage manager who is a member of the organization. He said in a Myanmar city building that houses a Myanmar silver screen with star and star poster movies hung on the wall, the land now only makes 17 to 20 movies a year.
Those few and a half week's time, he said. As most theatres have obsolete viewers, new films have to be switched from digitally to films before they can be distributed. There are also films from Thailand and Korea. In Yangon there are about 20 theatres, compared to 40 in the 70s, according to San Shwe Maung.
To underline the demise of a once flourishing industrial sector, two more movie theaters in the heart of Yangon are being torn down. However, the industrial case began almost five centuries ago, when a 1962 putsch transformed the state into a largely secluded policing state. San Shwe Maung said that policy and bribery were taboo and that even everything that was close to a sexual sequence would be hacked up.
Then in 1968, the federal administration nationalized the cinema sector. Funding production or even buying films to make became a problem. "Afterwards, there were no more good pictures," complained San Shwe Maung. This experienced filmstar has managed to make a feature about the war between the Karen rebel tribe and the AK.
playing a Karen woman soldier who fell in love with a registered soldier who treats federal troops. He moves to the side of the goverment to be with her and is finally slain by his teammates, a conspiracy that pleased the Censoren. In 1974 San Shwe Maung won the prize as best support actress for this part at the Academy Awards of the state.
The Zay Pars film about the 1988 students' revolt is another indication that the regime is breaking up.