Elsewhere, Within Here: Immigration, Refugeeism and the Boundary Event
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Article information. Article Information Volume: 15 issue: 1, page s : Article first published online: April 14, ; Issue published: April 1, Trinh T Minh-ha. Abstract Full Text Abstract. Article Navigation. Close mobile search navigation Article Navigation. Volume Oxford Academic.
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Issue Section:. You do not currently have access to this article. Download all figures. Sign in. The film ponders questions of power and change, politics and culture, stemming from events at Tiananmen Square. The title juggles with documentary concepts of getting to the truth: "Shoot for the contents". Simultaneously, it questions the film itself, "guess what's in this film. The film is delicately layered with Chinese popular songs, classical music, sayings of Mao and Confucius, women's voices, words of artists, philosophers, and other workers.
The multifaceted layering of images and sounds once again touch on themes Trinh addresses in earlier film Surname Viet Given Name Nam on the multiplicity of identity, and the politics of representation, in this case, re-presentations of China. The film's delicate balance between omission and depiction and its play with colors, rhythm, and the changing relationship between ear and eye suggest shifts of interpretation in contemporary Chinese culture and politics. This film won Trinh the Excellence in Cinematography Award in . The poem has been widely regarded as a metaphor for the often-invaded Vietnam.
The film tells the story of Vietnamese immigrant Kieu, a freelance writer who is struggling between the conflicting demands of a new life in America, the family she left behind and her own ambitions. This was Trinh's first feature-length film shot in 35mm . The Fourth Dimension  is Trinh T.
Minh-ha's first digital video feature. The film brings the viewers to a recognition that "in the end" "what is sensually brought on screen" is not "Japan, but the expansive reality of Japan as image and as time-light.
Trinh T Minh-ha | Clandestino Festival
The images that come alive in time also frame time in the film; this is where the actual and virtual meet- The Fourth Dimension. Night Passage  is an experimental, lyrical digital feature. Inspired by Kenji Miyazawa's Milky Way Railroad , it follows three young friends as they travel on a train between life and death. Continuing Trinh's thematic interest in framing, she and co-director and producer Jean Paul Bourdier explore the experience of dreamscapes through the train window.
As with The Fourth Dimension , Trinh explains her interest in digital production as a matter of engagement with speed and new ways of seeing. As she said in conversation with Elizabeth Dungan, "… the question is not so much to produce a new image as to provoke, to facilitate, and to solicit a new seeing … Speed at its best in digital imaging is still speed.
Minh-ha's most recent video, Forgetting Vietnam ,  is a lyrical essay that combines myths, performance, images of contemporary Vietnamese life, and explorations of cultural re-memory. 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.
A developing, ongoing conversation between myth and the 40th anniversary of the Vietnam War proceeds throughout the film. The editing together of these two different formats works within the film to question the concepts of linear time and "progress. From Wikipedia, the free encyclopedia.
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