Archive for the ‘Diminishing Memories I: The making of’ Category

Daniel Fournier – Music Composer

The music composer for both Diminishing Memories part one & part two, Daniel was born in France.  He obtained degrees ranging from Science to Music before setting foot in Queensland (Australia) in 1983.  He was invited to set up the Music Technology and Sonology courses at Griffith University and continued to teach there until 1999.  In 1991, Daniel founded CPARIS and has since been the Mastering Engineer of this organisation.  Daniel also writes music and full orchestral scores for documentaries, short films, feature films and computer games (Auran and THQ).


Daniel Fournier:



Carolyn Gardiner graduated from the Queensland College of Art (Australia) with a Masters in Visual Art, majoring in Animation. In 1992, she completed a Bachelor in Visual Art, majoring in Sculpture. Carolyn has since worked as a sculptor, mosaic and mural artist, illustrator as well as commission work and exhibiting her own work in exhibitions. Her graduating film, ‘Sex and the Soupermarket’ was screened, and nominated for ‘Best Animation’ in Oklahoma’s ‘Bare Bones International Film Festival’ in 2005. Carolyn is currently working as a Technical Officer at Griffith University and teaches drawings and animation in various educational institutes in Australia. 

When I was pondering what topic to document for my first film, I asked myself if I had only one film to make in my entire life, what would that be?  And the answer was obvious, simply because I wanted to work on something I felt passionate about.  I decided to make Diminishing Memories for us, the people of Singapore, on those who had sacrificed for the development of the country.  However, I needed to make the film even more so for myself for, I knew there was a voice calling from my heart that I can not ignore- the regret and the pain of losing my childhood.  Hence, the motivation of making Diminishing Memories was cultivated over 18 years- sadness turned into passion and determination in wanting to tell a story.  A story that not only belongs to me but also to my fellow villagers who came from the same community.  A story that ultimately belongs to every Singaporean, especially the older generations.

I decided this film would be a personal one since I am telling a story that is so close to my heart.  I had also chosen the reflective and reflexive documentary modes which I regard as the most relevant and appropriate approaches to express my thoughts, to re-capture my childhood memories and the past- the Singapore’s history.  I wanted to use black and white colours as the theme colours for my documentary not only to symbolize the flashing back of memories but because in Chinese culture, they represent death and funeral.  On the other hand, I attempted to be “light-hearted” in some parts of my film by using narration, expressed through the tone of my voice.  This is because I felt that this documentary should not be a completely sad film.  I needed some “happy” elements to dilute some of the sadness and to contrast the sadness, making the sadness even sadder- for the greatest sadness is to be able to laugh at it.