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A developing, ongoing conversation between myth and the 40th anniversary of the Vietnam War proceeds throughout the film. Building off the elements that form the Vietnamese term "country" as existing between land and water, Forgetting Vietnam explores how local inhabitants, immigrants, and veterans understand and remember. Lastly, her newest work Forgetting Vietnam (2016), resently presented at the TATE in London, is a lyrical essay that combines myths, performance, images of contemporary Vietnamese life, and explorations of cultural re-memory. Surname Viet, Given Name Nam, has received much attention, including winning the Blue Ribbon Award at the American Film and Video festival. The film asks the viewer to consider issues such as plural identity, the fictions inherent in documentary techniques, and film as translation. Minh-ha by showing both the staged and the "real" interviews it demarcates the differences of the two which addresses the invisibility of the politics of interviews, and further relations of representations. Surname Viet Given Name Nam "allows the practice of interviews to enter into the play of the true and the false, and the real and the staged.” Trinh T. The film features interviews with five contemporary Vietnamese women. The film is composed of newsreel and archival footage as well as printed information. Surname Viet Given Name Nam is not made in Vietnam. In " Surname Viet given name Nam (1989) the artist examines the status of Vietnamese women from 1975 onwards. It points to the viewers expectation and the need for the assignment of meaning. There is music, silence, sometimes Trinh views a movie, refusing to make the film "about" a “culture". None of the statements given by her assign meaning to the scenes. The film is a montage of fleeting images from Senegal and includes no narration, although there are occasional statements by Trinh T. In Reassemblage Trinh explains that she intends "not to speak about/Just speak nearby," unlike more conventional ethnographic documentary film.
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It was filmed in Senegal and released in 1982. She considers each work to exist as a "boundary event," eluding labels such as documentary, fiction or experimental film, instead positioning her work between these designations.įor the exhibition Minh-ha will present three of her films: Reassemblage (1982), Surname Viet given name Nam (1989), Forgetting Vietnam (2016).
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The artist has consistently challenged the traditional documentary format and has been deconstructing normative ways of looking at different cultures, whilst being dedicated to questioning totalizing systems of knowledge and categories of identity. She will present three films from her filmography in this exhibition. Minh-ha is a hugely influential writer, theorist and filmmaker in the fields of feminism and postcolonial studies. There’s also a very short preview on Youtube, though it only gives a hint of the film’s richness.It is with great pleasure that we announce the first solo exhibition of Vietnamese artist and scholar Trinh T. I don’t want to give away too much about it ahead of Sunday’s showing, but readers who know the film already or don’t mind being slightly spoiled may be interested in Jonathan Rosenbaum’s review from back in the day. I’m particularly interested in how the film plays with text on screen, but as today’s showing showed (ha), the director plays with a lot more than that, including with the documentary format itself. The lovely folk at the Watershed cinema very kindly allowed me to come in and have a sneak preview, which was a great luxury.
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It’s been talked about by researchers in film and in subtitling, so I had known of it for some time but never had a chance to see it because it’s not on commercial release. Minh-ha’s extraordinary 1989 documentary Surname Viet, Given Name Nam. I had the very great pleasure today of an advance screening of Trinh T. Here Carol offers some initial thoughts on the film. Cultural translation expert Dr Carol O’Sullivan will be facilitating the discussion after Sunday’s screening of Surname Viet, Given Name Nam.