Angry Monk · 2005

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Documentary

Angry Monk

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Luc Schaedler | go between films
CH 2005 | 97 | EN, DE, FR, Tib
→ Video On Demand

→ Statement director (am)
→ Interview director (am)
→ Bio of Gendun Choephel (am)
→ Texts of Gendun Choephel (am)
→ Downloads (am)
(photos & presskit)

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Video On Demand

Angry Monk (2005)
en, de, fr

 

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PLAYLIST (9 Clips):

Unpublished scenes from Angry Monk · 2005

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→ FESTIVALS (selection)

– Sundance, Nomination Grand Jury Award
– Busan (Competition)
– Vancouver (Competition)
– Montréal, Festival Nouveau Cinema (Competition)
– München DOK.fest (Competition)
– Melbourne (Competition)
– Auckland (Competition)
– Solothurner Filmtage official selection

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LINKS:

→ Film Review – San Francisco Chronicle
→ Film Review – Indiewire
→ Film Review – Phayul
→ More on Gendun Choephel
→ Swiss Films – Angry Monk
→ IMDb.com – Angry Monk
→ The Movie Database – Angry Monk

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Feb 08, 2019 | films | Comments Off on Angry Monk · 2005

go between films

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Film Production

go-be•tween | gō biˈtwēn |
to mediate, to intervene

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go between films

A Swiss film production company, engaged in making documentaries for cinematic and TV release. The company’s topics have an historical, social and political background with a strong focus on cross-cultural dialogue. It aims to produce both artistically and intellectually challenging films.

Luc Schaedler of «go between films» also defines himself at the interface of film and science. In addition to mentoring students in documentary filmmaking, he is engaged in research projects in the field of visual anthropology.

go between films was founded by Luc Schaedler in 2009. In 2010 he was joined by scriptwriter and script consultant Josy Meier.
→ Video On Demand

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FILMOGRAPHY

2021 • LOBA LOBA
Release: Spring 2021
Producer
Director: Anka Schmid
Music: Corin Curschellas
Short Documentary, 5 mins.

2018 • A LONG WAY HOME
Producer, writer, director, camera
Documentary, 75 mins.
Nomination for Swiss Film Award 2018

2013 • WATERMARKS
Producer, writer, director, camera
Documentary, 80 mins.
Invitation to Semaine de la critique (Locarno)

2005 • ANGRY MONK
Producer, writer, director
Documentary, 97 mins.
Invitation to Sundance (competition), nomination for the “Grand Jury Prize”.

1997 • MADE IN HONG KONG
Producer, writer, director, camera
Documentary, 75 mins.
Invitation to Leipzig (competition), Study Award 1997 (BAK)

2011 · NAGA IDENTITIES (draft)
Director, Camera
Ethno-Documentary, 60 mins.

2007 · BURIAL RITES
Producer
TV-Documentary, Sternstunde, 30 mins.
Directors: Mehdi Sahebi, Aya Domenig

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Luc Schaedler

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Filmmaker &
Producer

Short Biography

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– Luc Schaedler | *1963 in Zurich, Switzerland
– Independent Swiss filmmaker and producer
– Founder of «go between films»

– Director and producer of «A Long Way Home» (2018); «Watermarks» (2013); «Angry Monk» (2005), «Made in Hong Kong» (1997) and «Loba Loba» (2021).

– Invitations to international film festivals (selection): Sundance; Busan; Leipzig; Montreal; Locarno; Munich; Tel Aviv

→ INTERVIEW with Luc Schaedler – 04:30
→ Video On Demand

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CURRICULUM
– 1985-2002 collaboration as program coordinator, film projectionist and barkeeper in the Off-Cinema Xenix in Zurich
– 1988-92 travelled and worked in Asia | Barkeeper in Hong Kong and Tokyo
– 1994-97 studied Visual Anthropology at the University of Zurich
– Graduated with two documentary features: «Made in Hong Kong» (Master thesis, 1998) and «Angry Monk» (Ph.D. thesis, 2005)
– 1998-2001 collaboration in setting up the children’s film club «Magic Lantern» in Zurich
– Since 2001 various teaching positions in Visual Anthropology and documentary filmmaking at the Universities in Zurich, Bern and Fribourg
– From 2006-08 head of the department of Visual Anthropology at the Anthropological Museum of Zurich University.

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→ FILMOGRAPHY of Luc Schaedler

→ Luc Schaedler’s thoughts on films about Tibet
(German only)

→ IMDb.com – Luc Schaedler
→ Facebook – go between films

→ Wikipedia – Luc Schaedler (german)
→ Wikipedia – Luc Schaedler (français)

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→ go between films – contact

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→ INTERVIEW with Luc Schaedler – 04:30

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ANGRY MONK – material

Additional materials

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In the section «Angry Monk – materials» you will find additional information about this documentary of Luc Schaedler (go between films).
→ Video On Demand

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ANGRY MONK (2005)

→ Statement Director
→ Interview Director
→ Bio Gendun Choephel
→ Poems Gendun Choephel
→ Downloads

 

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· Statement Director (am)

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Angry Monk

Statement Luc Schaedler

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Why Gendun Choephel

«The idea for the film «Angry Monk» originated during several trips to China, Tibet and India between 1988 and 1999. Without being aware of it, I travelled to the same places that the protagonist of the movie visited 50 years before. Since 1988 I have been studying the country of Tibet and how the western world perceives it. And I repeatedly came across the name of Gendun Choephel.»

A wanderer between worlds

«Gendun Choephel (1903-51) was a wanderer between worlds — at once a dreamer, a rebel and a researcher. He lived in a time that was decisive for the future of his country, between the British colonial invasion of 1903 and the occupation by the Chinese army in 1951. At that time Tibet wasn’t the inaccessible Shangri-La that people often claim, but a torn country on the verge of big changes. Tibet’s attempts to introduce a new social structure and to find its own way into the twentieth century failed because of the resistance of the conservative nobility and the monasteries.»

Breaking the isolation

«As Tibet moved towards isolation, Gendun Choephel was open to new experiences. We can trace his path through his writings, articles, pictures and sketches. He looked at his own society in a critical way, was interested in political issues and tried to apply them to everyday life; he was, therefore, the initiator of critical and intellectual thought within Tibetan society.»

Becoming a role model

«During his last years, Gendun Choephel became a role model for many young Tibetans in Chinese-occupied Tibet and also for those in exile in India. While their parents lost Tibet, the younger generation looked for role models that would allow a critical view of their own society. But the western world only slowly became aware of Choephel because his life story doesn’t mesh with our rigid image of Tibet, which prefers to portray Tibetans as victims rather than the makers of their own history.»
Luc Schaedler

 

 

 

 

 

 

 

 

 

 

 

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· Interview Director (am)

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Angry Monk

Luc Schaedler

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Interview director by Till Brockmann, 2005

Why did you chose the title «Angry Monk»?

A monk is not supposed to be angry. The title is thus contradictory and provocative and that’s intentional; this contradiction is part of what the movie is about. The way the West sees Tibet has more to do with our own projections than with reality. Interestingly, in German and English there is a note of irony in the title which gets completely lost in the Tibetan translation. I found out that the title cannot really be translated into Tibetan. Apparently the combination of «angry» and «monk» is not planned…

Why a film about Tibet?

I travelled a lot in Asia and I often passed through Tibet. I first went to Tibet in 1989, shortly after the Tiananmen massacre in Bejing – during the time of the Lhasa uprisings. I also worked on Tibetan issues during my anthropology studies at university. A part of me is always on the road, seeking an encounter with all things foreign. My film is surely also the result of this personal interest, a way to give it a shape. But it also has purpose to actively participate in a specific discourse, the discussion that the West had long been having about Tibet.

Why a road movie?

It was the idea from the beginning. Somehow that’s the point of the whole story. Because in a broader sense the whole life of Gendun Choephel, the central figure, was a journey. A journey from the border provinces to the city of Lhasa. From there he went abroad and came back again. Apart from this outer journey, there was the inner journey of a man who, agile-minded as he was, always remained «on the road».

And furthermore, as already mentioned, the film is structured like that because I got to know Tibet as a traveller, too. Finally, a last aspect, the film is a dialogue with the past which is also a kind of travelling, time-travelling so to speak: the film moves back and forth between present and past that mirror each other…

What about a permission to film?

I was aware from the beginning that the authorities would have informants and therefore always knew what was going on. Thus, shooting secretly and getting an official permit for a bigger project were out of question. For that reason I had the idea to work with a small and unobtrusive team; actually, just the cameraman Filip Zumbrunn and me. We behaved like tourists, like teachers who wanted to show the video material to their students back home.

Partly we were shooting the usual stuff: markets, monasteries, like all tourists do… (smiling), but we were really lucky, too; if we had been searched at some point and they would have found all the many videocassettes, who knows… But even if the film is critical of China, I clearly never meant to make a film against China. What I am interested in is the inner dynamics of Tibet and in this regard China is just one of the factors. After all I’m critical of Tibetan culture as well.

What do you mean by that?

First of all, I’m very critical of the one-sided way the West looks at Tibet: as a spiritual refuge, an inspiration for the mind… some managers even go to Buddhist monasteries to prepare for the next round of globalization debates. A lot of damage is done by reducing Tibet to a peace-loving pseudo-paradise, perceiving it as «Shangri-la» with all the Tibetans having a spiritual message ready for us. I believe this harms the struggle for Tibetan indepence. Furthermore, I find the romanticizing of the past rather problematic, though Tibet gets idealized not only in the West but by Tibetans as well.

For instance, hardly 5% of the people controlled the whole country and the mingling of religion and politics developed into an unholy alliance of the aristocracy and the monastic establishment. This prevented necessary reforms and a policy of openness. Such things are often forgotten. Gendun Choephel and many others as well, such as the predecessor of the present Dalai Lama, were open for change but they failed time and again with their ideas because of the opposition of conservative forces who of course defend their privileges.

Was your critical approach intentional?

Yes, of course. There are so many films full of admiration for the monasteries, for the lamaism and also for the nomadic society which has been celebrated as a remnant of an age-old, intact culture. Similarly, I dislike political reports that make us believe that Tibet is a destroyed culture and that any resistance against the Chinese is defeated or futile in the end.

But the situation is more complex and indeed a paradox: on the one hand so much has been destroyed since the invasion in 1950, especially during the cultural revolution it was done with meticulous precision. On the other hand, the Tibetans prove every day that there is a life under the Chinese. They have preserved their culture and language, they have kept alive more than one thinks. For instance, many of Gendun Choephel’s writings and paintings featured in my film, have been preserved in Tibet. In this sense Gendun Choephel becomes part of this «survival».

What I mean to say is that the Tibetans shouldn’t be perceived just as victims but as a people who have managed very cleverly to resist the Chinese and who will go on showing their subversive spirit. I never intended to make a purely biographical film on Gendun Choephel, but he serves as a key to the understanding of the history and the complex present of Tibet. Choephel was a man with many sides who had fought for change and at the same time remained a Buddhist all his life. He never turned his back to his own culture.

I deliberately chose to have only Tibetans speak about Gendun Choephel in my film: old people who knew him and other Tibetans of a later generation. At the end I cut out all the Western scholars and Tibet experts whom I had interviewed as well…

Why is the Dalai Lama missing?

I did this on purpose. Probably it would have been easy enough to get an interview with him. But I didn’t want his presence to dominate the film and the other interview partners to be pushed to the background. No matter what he would have said about Gendun Choephel, it would have been a confirmation for many that the film is justified. I didn’t want that, I didn’t want to have this «offical stamp». In my view it is very important that there is a parallel discussion on Tibet which doesn’t rely exclusively on the voice of the Dalai Lama.

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· Bio Gendun Choephel (am)

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Angry Monk

A short Biography

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Childhood in Eastern Tibet
(1903-1927)

He was born 1903 in a small village in eastern Tibet, near the silk road, at the Chinese border, in a remote region populated by nomads. This region was inhabited by Muslims, Chinese and Tibetans that were constantly fighting each other. The villages often were attacked and looted by warlords. In this explosive and mixed cultural climate Gendun Choephel started to be interested in his Tibetan identity early on.

He received a traditional education as a monk in the most important monastery of the region, where he developped a friendship with an American missionary that the other monks and his family resented. In 1927 he left the monastery and moved to Lhasa with a caravan of merchants.

Monastery education in Lhasa
(1927-34)

In Lhasa Gendun Choephel studied in Drepung, the biggest monastery in the world. His rebellious attempts to bypass the monastery’s rules annoyed the other monks. Ultimately, monastic life suffocated him too much in Lhasa as well and he left the monastery. Afterwards he survived as a portrait painter and artist for rich aristocrats in Lhasa. In 1934 he met Rahul Sankrityayan, an Indian researcher of Buddhist teachings who also was a communist activist for the Indian struggle for independence from British colonialists.

Journey across Tibet (1934-1938)

Rahul Sankrityayan and Gendun Choephel travelled together across Tibet searching for old texts that were destroyed in India centuries earlier but had survived in remote monasteries in Tibet. For Rahul, historical research is part of his political fight; for him researching history is the key to the present. Gendun Choephel was Rahuls translator as well as his mediator for Tibetan culture. At the same time the fascinating stories about India awoke his curiosity.

Journey across India (1938-1946)

In India, Gendun Choephel was confronted with a foreign world. For the first time he saw a railway and other technological achievements. India was then undergoing radical changes and, contrary to Tibet, the Indians took their destiny into their own hands. The fight for independece was at its peak. Gendun Choephel’s view of his own culture started to change; in India he experienced the most creative phase of his life.

He travelled across the country as a Buddhist pilgrim, lived in the crowded city of Calcutta, saw the ocean, visited brothels and libraries, wrote his first newspaper articles and translated the Kamasutra in Tibetan, enriching it with his own experiences. He sent many of his writings, notes and sketches back to Tibet in order to convey his impressions of a foreign world.

Return to Tibet (1946-51)

In 1946 Gendun Choephel returned to Tibet passing through the Indian-Tibetan border town of Kalimpong which, next to British and Chinese agents, was a nest of radical Tibetans who fell out of grace with Lhasa’s government. In 1939 they founded the Tibetan Revolutionary Party. Choephel got acquainted with the party and designed their logo: a sickle crossed by a sword. The Tibetan Revolutionary Party’s goal was to overthrow the tyrannical regime in Lhasa.

In Lhasa (1946-51)

When Gendun Choephel arrived in Lhasa the Tibetan government was already informed about his political activities. He began to write the political history of Tibet but this attempt was abruptly stopped by his arrest. He was accused of insurrection and thrown in jail for three years.

In 1949 he was freed. But his heart was broken and he drowned his desperation in alcohol. Soon afterwards the Chinese army overran the Tibetan troops in eastern Tibet and, in 1951, shortly after the occupation of Lhasa by the Chinese army, Gendun Choephel died. Supposedly he commented on the political events of his era in this way: «Now we are in deep shit!»

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More on Gendun Choephel:

Biography of Gendun Choephel by Donald Lopez Jr.
(Chicago University Press)

Short Biography of Gendun Choephel
(Archive.Today)

More information on Gendun Choephel
(Rigpa Wiki)

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· Poems Gendun Choephel (am)

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Angry Monk

Poems of Gendun Choephel

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On British colonialism
Calcutta 1941

Sponsored by kings and ministers
the colonialists sent out
a great army of bandits,
calling them traders.

They introduced
new forms of living,
but their laws
were only good
for the educated and wealthy.

As for the poor,
their small livelihoods
are sucked like blood
from all their orifices.

It is in this way
that the so-called wonders
of the world were built,
such as railroads and high buildings.

I am an astute beggar,
who spent his life listening.
I know what I’m talking about.

 

From his Notebook
Tibet 1946

In Tibet
Everything that is old
Is a work of Buddha
And everything that is new
Is a work of the Devil
This is the sad tradition of our country

 

The World is flat
Tibet Mirror Press, 1938

In olden days,
even in Europe,
the world was thought to be flat.

And when some intelligent people
claimed the opposite,
they were exposed to various difficulties,
such as being burnt alive.

Today, even in Buddhist countries
everybody knows,
that the world is round.

However in Tibet,
we still stubbornly state
that the world is flat.

 

Foreword of his Kamasutra translation
Calcutta 1939

As for me
I have little shame
I love women.

Every man has a woman
Every woman has a man
Both in their mind
Desire sexual union

What chance is the for clean behaviour?
If natural passions are openly banned
Unnatural passions will grow in secrecy

No law of religion
No law of morality
Can suppress the natural passion of mankind

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Gendun Choephel’s Poems
translated by Donald Lopez Jr.
(University of Chicago Press)

 

 

 

 

 

 

 

 

 

 

 

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· Downloads (am)

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Angry Monk

Downloads – Promotion

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↓ Presskit (english)
↓ Presseheft (deutsch)
↓ Dossier de presse (français)

↓ Filmstills

→ Click on image
→ Image opens in browser
→ Choose «Save as»
→ Select downloads location
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Intro and Publications

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Visual Anthropology

Between the arts and science

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(Short) Intro

Visual Anthropology is a discipline of practice and theory. As a subfield of Cultural Anthropology it is concerned with the production of ethnographic images and the analysis of visual representations as well as its relationship to other fields of society and culture.

Since his Master- and Ph.D thesis Luc Schaedler of «go between films» is involved in Visual Anthropology, both as part of his teaching at Universities and film schools, and as deep influence for his documentary films.

«The relationship between verbal and visual forms of expression in the field of ethnography (science) are manyfold. How they be mixed, can not be categorically decided. Each situation needs its own assesment and an experimental attitude towards both. Which dosis may be prescribed, is solely a question of art».
MICHAEL OPPITZ

→ «Das kleine Zürcher Filmwunder» – Visuelle Anthropologie an der Universität Zürich

→ «Der Film ist auch ein Showcase für die Universität» – Gespräch mit Luc Schaedler

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Publications

Below you will find the Master- and the Ph.D. thesis of Luc Schaedler and a selection of previous articles:

↓ Ph.D.: ANGRY MONK: Literary, Historical, and Oral Sources for a Documentary Film (2007)

↓ Master: Arbeitsbericht zur Entstehung von MADE IN HONG KONG (1998)

↓ The little differences: cross-cultural exchange in filmschools (2011)

↓ Über die Wissenschaftlichkeit von Dokumentarfilmen (2009)

↓ Westliche Okkupation und östliche Selbstreflexion: Buddhismus im Spielfilm (2002)

↓ Tibet: Ein Projektionsfeld Westlicher Phantasien (1994)

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Angry Monk

A critical discussion of the documentary film «Angry Monk» as a hybrid between the arts and science:

↓ History & Anthropology (2008) – A critical review of «Angry Monk»

↓ Visual Anthropology (2008) – A critical review of «Angry Monk»

↓ American Anthropologist (2010) – Angry Monk: Reflections on Tibet

↓ IIAS Newsletter (2008) – Rebel with a cause: debunking the mythical & mystical Tibet

↓ AEMS Review (2008) – A critical review of «Angry Monk»

↓ Himal Southasian (2006) – The new reasoning of Gendun Choephel

↓ Revue de l’Inde (2006) – Réflexions sur le Tibet

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Sep 20, 2008 | visual anthropology | Comments Off on Intro and Publications

research-at-doc

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Anthropology

Visual Research

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Luc Schaedler of go between films sees himself at the interface of art, film and Visual Anthropology. Since 1996 he has been involved in various projects that conduct artistic, cinematic and scientific research using exclusively visual means (research-at-doc).

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Angry Monk (2001-07)
Doctoral Thesis

This visual research into Tibetan history and the biography of the radical monk Gendun Choephel had been designed as a bastard between art and science from the very beginning. The documentary film (90 mins.) is accompanied by a written thesis (2) critically discussing and contextualizing the research materials. It was the first film to be accepted as the main part of a Ph.D at the University of Zurich.

→ To the film «Angry Monk»

→ «Angry Monk» – a scientific discourse

 

Made in Hong Kong (1995-97)
Master Thesis

A visual research project in the fields of urban anthropology, migration and oral history. The documentary film (75 mins.) is accompanied by a written text, that critically discusses the making of the film and the working process in the form of a handbook for students (3). It was the first film to be accepted as the main part of a MA at the University of Zurich.

→ To the film «Made in Hong Kong»

→ Made in Hong Kong – A Handbook for Students (3)

 

Naga Identities (2009-11)
as part of an exhibition

The twelve hours of footage were shot in March 2009 as part of a large research project on Naga culture in India’s Northeastern border regions. Other products of the same research were the exhibtion “Naga: Ornaments and Ashes”, as well as the publication “Naga Identities: Changing Local Cultures in the Northeast of India”. It contains a collection of articles by various authors spanning an enlightening ark from the warring past, to an equally problematic present, to a very uncertain future.

→ to the project «Naga Identities»

 

Shamans of the Blind Country (2007-08)
Digitalising a classic of Visual Anthropology

Historical footage is mostly analog, the cinema of tomorrow digital: with color corrections, adaptions of the sound tracks as well as the reconstruction of the original order of the sequences Michael Oppitz’ ethnographic classic from 1978 was brought into the digital age. With Thomas Bochet.

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Teaching – Mentoring

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University

Between the arts and science

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Luc Schaedler

is teaching and mentoring as freelance lecturer since 2001. In addition to workshops and lectures at international Universities – among them Vancouver, New York, Vienna and Berlin – he is regularly working at Zurich University and the University of the Arts (film department).

His emphasis in teaching and mentoring lies in the fields of documentary filmmaking (theory and practice), cultural anthropology, with a special focus on visual anthropology, as well as Tibet (history and Buddhism).

Teaching

His last Seminars took place at the Institute of Social Anthropology at the University of Berne (Switzerland) –  Introduction to Visual Anthropology (The Classics of Ethnographic Filmmaking), The Ethnographic Interview (Theory and Exercise) and most recently  Smartphone Anthropology at the Université de Fribourg.

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2009/10 Luc Schaedler has been involved in the Triangle Project, a cross-cultural exchange workshop between the film departments of the University of the Arts (Zurich), the Dramatiska Institutet (Stockholm) and the Theatre Academy of Shanghai. My paper ↓ The little differences about the workshop can be downloaded from here.

A film by Yun Long Song
(CH 2011, 10 Min., English)

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Mentoring

In his position as lecturer at the University of Zurich, Luc Schaedler has been mentoring the visual degrees (MA) of the students in the department of Visual Anthropolgy since 2006. The mentoring included the critical discussion of each proposal, productional and technical support as well as support during the editing, postproduction and promotion of the films.

Luc Schaedler also initiated a colloquium for anthropology students in which they present and discuss their visual projects in different stages of the making (ongoing).

The films were screened at the ethnographic student film festival Regard Bleu in Zurich and/or were invited to the Solothurner Filmtage in Switzerland (2007-2010):

• Promised Land (Balz Alter, CH 2010, 35 mins., MA, UniBa) • Chokora – Surviving on the Street (Lea Furrer, CH 2010, 50 mins., MA, UZH) • Arranged Love (Sarah Bregy, CH 2010, MA, UZH) • Por Amor (Isabelle Stüssi, CH 2009, 68 mins., MA, UZH) • Life in Bubbles (Nadine Lüchinger, CH 2009, 50 Min., Lizentiat, UZH) • Put Mira (Gian-Reto Gredig, CH 2008, 87 mins. MA, UZH) • The Cave of Justin (Mélanie Pitteloud, CH 2008, 52 mins., MA, UZH) • In A Whiteman’s Kontry (Balz Arter, CH 2008, 25 Min., Seminar, UniBa) • The Achuar (Elsner/Bissegger, CH 2008, 52 Min., MA, UZH) • Shanghai Manners (Claudia Jucker, CH 2007, 19 mins., Diploma, HSLU).

In A Whiteman’s Kontry – German
(Balz Alter, CH 2008)

Chokora – Surviving on the Street (Filmstill)
(Lea Furrer, CH 2010)

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