Question of the Day – Tuesday
By flaherty08
What is an interesting way a filmmaker has used form to explore migration?
This entry was posted on June 24, 2008 at 2:21 pm and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed.
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June 24, 2008 at 5:56 pm |
In Allan Sekula’s Lottery of the Sea, from the very outset of the film, I noticed a male gaze and a lingering of the camera on the faces or bodies of pre-pubecent girls and young women. By the end of the film I found myself very bothered by this gaze, and wondered if the filmmaker was at all aware of his treatment of these women?
June 24, 2008 at 10:07 pm |
Here is a site where the form of the website follows the function of a suite of migration stories:
http://www.fargoisnotfargo.com/
June 24, 2008 at 10:23 pm |
I like when the issue of immigration is tackled at the micro level (bottom up). It humanises the experience of immigration. So far Colossal Youth and Betrayal are good examples. Information is good and useful but feelings also and I think the best way to really feel what is immigration is to have a bottom up approach. To achieve this one must really have the intention to share with both the subjects and the viewers. Too many people in the world only focus on receiving, hence the war, the wild capitalism, etc. If we want to contribute in changing something it must start by a profound will to give. By the way the fellow lunch with Thavisouk was a highlight in my week. This is someone who shares a lot!
June 24, 2008 at 10:39 pm |
After seeing Sylvia Schedelbauer’s films yesterday and today, I am more intrigued by the concept of files and chronicles that Ursula Biemann’s projects employ to tackle contemporary migratory networks. Schedelbauer has created narratives that bring together collections of found images, words, and sounds to explore, retrospectively, personal memories of displacement or discomfort. Biemann, instead, confronts the audience with the task of acknowledging the enormity of mobility in current geopolitics. The organization of these recordings into files, chronicles, or albums, resembles the traveler’s itinerary–they are an outline of experiences that are still unfolding. After all, migration doesn’t necessarily end at the tip of the arrow on a map.
June 25, 2008 at 2:25 am |
The directors of The Betrayal focused on the dynamic paradigm shifts in parental respect when language becomes a barrier. For example, these directors explored the way in which the language barrier between a Laotian woman and her children created hegemonies for disregard since her children felt a behavioral advantage over their mother due to her inability to speak English. The directorial style allows viewers to gradually see this result of migration at a very intimate angle.