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Wildness

About the Film
Year Released: 
2012
Running Time: 
74
Documentary/Fiction: 
Mixing Documentary and Fiction
Synopsis: 

"Wildness is a portrait of the Silver Platter, a historic, LGBT-friendly bar on the eastside of Los Angeles that has catered to the Latin immigrant community since 1963. With a magical-realist flourish—the bar itself becomes a character in the film—Wildness captures the creativity and conflict that ensue when a group of young, queer artists of color (Wu Tsang, DJs NGUZUNGUZU, and Total Freedom) organize a weekly performance art party, called Wildness, at the bar. What does “safe space” mean, and who needs it? The search for answers to these questions creates coalitions across generations."

-"Wildness," The Museum of Modern Art, accessed December 8, 2012. http://www.moma.org/visit/calendar/film_screenings/14573

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
n/a
Location: 
MacArthur Park area, Los Angeles, CA
Other Interesting Production Info: 
Tsang taught himself how to write and edit film: he had no experience prior to "Wildness." While "Wildness" has been incorporated into a number of museum exhibits, Tsang created it for the theater. He hopes ultimately to distribute the film digitally, "because I want a variety of people who are essentially like me in terms of media-consumption: a little lazy, non-film-buffs - to be able to access the film easily on demand." Of all films, Tsang finds Lizzie Borden's "Born in Flames" most inspiring.
Categories About the Film
Genre: 
coming of age
documentary
Keywords: 
activism and social justice
art and culture
coming of age
glbtq
history and memory
immigration
urban life
Racial/Ethnic Affiliation: 
African American
Asian-American
Chicano/a
Latin American
Latino/a
Mexican
Filmmaking Team
Writer's Name: 
Wu Tsang and Roya Rastegar
Producer: 
Kathy Rivkin, Daniel Carrera
Cinematographer: 
Michelle Lawler
Primary Cast: 
Narrator: Mariana Marroquin. Owner, director, and patrons of the Silver Platter: Koky Corral, Asma Maroof, Wu Tsang, Ashland Mines, Jose Morales, Daniel Pineda, Gonzalo Ramirez, Nora Ramirez (courtesy of variety.com).
Exhibition/Distribution Info
Distributor: 
n/a
Festivals/Awards: 

MoMA Documentary Fortnight (New York, NY; World Premiere); Outfest 2012 (the Grand Jury Award for Outstanding Documentary); SXSW (Austin, TX), Hot Docs (Toronto, Canada), SANFIC8 (Santiago, Chile).

Reassemblage: From the Firelight to the Screen

About the Film
Year Released: 
1983
Running Time: 
40
Documentary/Fiction: 
Documentary
Synopsis: 

“Trinh T. Minh-ha’s first film, Reassemblage (1982), poses the question: how does the prism of observation we traditionally bring to viewing cultures outside of our own disturb them? Clarifying her intentions in a voiceover at the film’s outset, the film-maker states that she does not want to “speak about,” but rather “just speak nearby” her subject. Thus, Reassemblage disorients the viewer by eschewing any trace of narrative linearity in its representation of the Senegalese culture. In place of the omniscient voice-over we have been conditioned to expect from traditional ethnographic documentaries, a largely non-verbal, discontinuous soundtrack of music and silence accompanies the film’s montage of fleeting images of the Senegalese women, to which no stable meaning is or can be assigned. In the forty-minutes of footage, the lighting and camera angles are constantly changing, always before we can focus our gaze.”

 

- “Trinh T. Minh-ha,” La Triennale—Between the Near and Far: Concerning Ethnographic Poetics (traveling exhibition; “Palais de Tokyo and other venues 20 April–26 August 2012”), accessed December 8, 2012, http://www.latriennale.org/en/artists/trinh-t-minh-ha

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
“I didn't have money when I was making Reassemblage. That film can be said to be made by myself from A to Z.”—Trinh T. Minh-ha --Spangler, Tina. “Interviewer Interviewed,” Latent Image-Winter 1993, accessed December 8, 2012. http://pages.emerson.edu/organizations/fas/latent_image/issues/1993-12/print_version/trinh.htm
Location: 
Senegal, Africa
Other Interesting Production Info: 
Reassemblage was shot on 16-millimeter film
Categories About the Film
Genre: 
documentary
Keywords: 
activism and social justice
art and culture
interracial relations
rural life
Racial/Ethnic Affiliation: 
African
Filmmaking Team
Writer's Name: 
Trinh T. Minh-ha
Producer: 
Trinh T. Minh-ha and Jean Paul Bourdier
Cinematographer: 
Trinh T. Minh-ha
Primary Cast: 
mostly female villagers in Senegal
Exhibition/Distribution Info
Distributor: 
Primary distributors: Third World Newsreel, Women Make Movies
Where to find it/How to get it: 
Streaming (Netflix or other online sites)
Festivals/Awards: 

New York Film Festival; Asian American Film Festival Humboldt (Honorable Mention); Festival Dei Popoli, Florence; Tyneside Film Festival (UK); Hong Kong Film Festival 

Analysis
Personal Film Review and Cultural Context: 

 “I do not intend to speak about, just speak nearby.”  This is how Trinh T. Minh-ha frames her 1982 documentary, Reassemblage.  Her images of life in a Senegalese village do not claim to know a culture, and actively resist an ethnographic gaze habituated by many Western audiences.  Trinh, a renowned feminist and postcolonial theorist, narrates the film with surrounding sound, alternated with intermittent observation reflected in a thoughtful, composed voiceover.  She uses simple shots to articulate complexities of everyday life - especially those in the day-to-day lives of women. In an experimental 40-minute journey of colors and sounds, Trinh connects us with the eyes of people looking back.  Reassemblage is Trinh’s first film; she has also directed Naked Spaces - Living is Round; Surname Viet Given Name Nam; Shoot for the Contents; A Tale of Love; The Fourth Dimension; and Night Passage.

-Ariel Kraakman

Readings: 

Khadidiatou Gueye, “Ethnocultural Voices and African Aesthetics in Trinh Min-ha’s Reassemblage: From the Firelight to the Screen,” in Research in African Literatures (Indiana: Indiana University Press, 2008), 39.  http://www.jstor.org/discover/10.2307/20109620?uid=3739696&uid=2129&uid=2134&uid=2&uid=70&uid=4&uid=3739256&sid=21101335842963

Louie Yang, “Reassemblage: The Enlightenment of Documentary,” John S. Knight Institute for Writing in the Disciplines at Cornell University, accessed December 8, 2012. http://www.arts.cornell.edu/knight_institute/publicationsprizes/discoveries/discoveriesfall1997/02louieyang.pdf

wanhong's picture

Wonderland

Instead of shaking in the darkness, I watched the starry scene in front of me. It was six 'o clock, but the sky was already darkened. There were no stars, but there were lights from countless windows far away from me. What I saw didn't seem to be true.

When I first walked into Bryn Mawr, it was a Wonderland to me. Now it still is--the only difference is that I KNOW it is real. No matter during the day or at night, it looked like a place in fantasy. The flowers, trees, and old buildings--yes, those, at day time, not after the dawn.

How many people have sat on the bench, wondering--"why am I here, what do I see?"

The lights were glowing, shining as if they were showing off in the darkness. We still don't want to blend in the night, do we? We need artificial lights to feel safe--we just need that feeling.

sarahj's picture

Perry House: The End

I see that they (the administration/grounds) is still taking care of the grass at Perry.  In the beginning of the year, the vibrancy chairs were slowly being consumed by the vines in the Perry House garden but they are clean now and left with plenty of space to sit in silence and solidarity.  The last few times I've been to my site at Perry I couldn't help but think about the current ambiguity of the House's future.  It is strange how, once the students came together, the lawn vines were finally cut back.  Would it have been so bad for the vibrancy chairs to be swallowed by the vines?  Is it worse that the chairs are free from their plant captors, but left on their own?  Its almost like they are symbolic of the culture of Perry House.  Either the vibrancy of the house is to be swallowed up and claimed by someone else or it is to be left on its own, there to be looked at but never to be integrated into the whole. Maybe I'm reading too much into it.

As for what I did at my site that day, I marveled at the warm weather (I was there on Tuesday) and I finally stepped through the stone archway.  I had been avoiding that all semester because I liked to imagine that there was another world amongst the bramble of the otherside.  I sat down on the steps and I sang songs though I'm not quite sure why.  It felt right.

rachelr's picture

(Mental) Construction Zone

My assignment for our trip to Ashbridge was to hold an online reflection of my shared experience with the class. That can be found here. Something that our blind shuttle made me think about was the difference between hearing r.graham.barrett and eetong’s auditory description of the history (past and present) of Ashbridge Park and the waterway restoration, and the visual differences I encountered that were in contrast to the mental image I had constructed. I wasn’t really expecting the trash, especially after hearing about all the conscious efforts to revitalize and preserve the area. I assume if I did not have my sense of sight that I would have retained the visual image I constructed from the stories, unless perhaps I had someone describing the reality to me. Carmen Papalia said on our blind shuttle that not having sight could be a beautiful thing, that sight gave us so much to be distracted by that our other senses don’t work as hard as they could. I am now left wondering how my experience at Ashbridge might have been different if I had taken some time to close my eyes. Would I have had a more watery experience if I let me ears and nose take over, uninhibited by the distractions my eyes plagued me with?

 

Chandrea's picture

Thursday's Silence Class

"Sometimes it's harder to attain inner silence than outer silence. The dog stopped barking and the kids have gone to bed, but your mind has a lot to talk about and it knows you can't pretend you're not at home." -Linda Solegato

I stumbled across this quote today and it reminded me of Thursday's class with Professor Beard. I thought she had such a peaceful presence about her, but the end of the conversation made me a little uncomfortable. We talked about the Chittister text and our discomfort with silence because "it is silence that brings us face to face with ourselves" (Chittister).

I Will Follow

About the Film
Year Released: 
2011
Running Time: 
81
Documentary/Fiction: 
Fiction
Synopsis: 

Maye (Salli Richardson-Whitfield) is a success. Hot career. Hot boyfriend. But when her world is turned upside down by tragedy, she must struggle to keep her balance. I WILL FOLLOW chronicles a day in the life of a woman at a crossroads, and the twelve people who help her move forward into a brave, new world.

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
50,000
Location: 
Topanga Canyon, California
Categories About the Film
Genre: 
drama
family
romance
Keywords: 
family
rural life
Racial/Ethnic Affiliation: 
African American
North American
Filmmaking Team
Writer's Name: 
Ava DuVernay
Producer: 
Howard Barish
Cinematographer: 
Miguel Bunster
Primary Cast: 
Salli Richardson- Whitfield, Tracie Thomas, Blair Underwood, Omari Hardwick, Michole Briana White, Beverly Todd, Dijon Talton
Exhibition/Distribution Info
Distributor: 
AFFRM
Box Office Earnings: 
$360000
Where to find it/How to get it: 
Streaming (Netflix or other online sites)
Festivals/Awards: 

        Urbanworld Film Festival (world premiere in September 2010).

        Image Award, Film nominated for Outstanding Independent Motion Picture

        Pan-African Film Festival

        Chicago International Film Festival

        AFI Fest

        Best director prize at the 2012 Sundance Film Festival

        Black Reel-Nominated Ava Duvernay for Best Director and Best Screenplay

        African American Film Critics Association - 2011 Won Best Screenplay

Anne Dalke's picture

Gathering quotes for Tuesday's barometer

As you read over your classmates' papers, pull out one sentence you would like to discuss further, and BY MONDAY @ 5, ADD IT HERE AS A COMMENT. I will draw from these in constructing the game of "barometer," which we will play in class on Tuesday. Thanks!

Anne Dalke's picture

PLANS FOR OUR FINAL TEACH-IN

We have 8 presentations--so each one gets 10 minutes. I will be very strict about the time-keeping, since we want to give everyone an equal chance to share what they have learned. Here's the program:
11:25-11:35 Minh
11:35-11:45 Sarah C
11:45-11:55 Shengjia
11:55-12:05 Wanhong and Barbara
12:05-12:15 Susan, Rochelle and Sara
12:15-12:25 Alex and Hannah
12:25-12:35 Claire and Zoe
12:35-12:45 Maddie and Elizabeth
If you have technical needs, you need to get there early and get yourself set up (otherwise, setting up becomes part of your performance time, and we all get frustrated....)
I'll bring some treats--and am very much looking forward to this!

interloper's picture

Two thousand days and nights (Unfinished)

Final Version:

My armor weighs more than I can still carry,

A cage for my skull,

Five years empty inside. 

Circean shapeshifters sold me this

Sheathing. 

In shadows they flitter, in daylight they hide.

Remember: 

Effortless solstice of winter,

Sleeping, 

Turning, legs and arms twined.

Human cocoon

Of breath, skin, Elysium,

Flawless empyrean, fullness of mind.

Now

Skating the precipice, dragging my baggage,

Punch hard,

Pierce through this carapace shell. 

With unguarded organs 

I squint through the scissure,

Unable to tell if it's heaven

Or hell.

Exoskeletal shedding takes trust,

Though I can't seem to know when it's false or it's real,

But If i touch heat then

I'll maybe be able to

Cry

and then actually, finally

Feel.

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