A film diary divided into three episodes. The first part reflects Jonas Mekas of his time as emigrant in 50th century New York, after leaving the home country of Lithuania. The second part ... See full summary »
A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.
Trinh T. Minh-ha combines archival footage, text, and interviews to paint portraits of Vietnamese women past and present. She explores the fiction of documentary and the truth of subjective experience and all their inherent contradictions.
Reassemblage: by Chinese-American Feminist Filmmaker Trinh T. Minh-ha
I was at a conference called "Gendered Spaces" in 1994 when one of my favorite feminist writers surprised me by showing up to present her film. It was "Reassemblage," an ethnographic study of a thriving African community: Senegal.
It is ever so typical for the US mainstream, tunnel-visioned & repetitious mass media (especially on cable or satellite) to search for the tragic horror shots of starving, bug eaten African citizens. They are bare breasted women, near naked men (if any men are filmed at all), with a host of babies & children whose bellies are swollen from near starvation being shown to the US public viewer.
Is it any wonder that American citizens have been misled to believe that Africans are "primitive," ignorant, non-self-sustaining people looking for US handouts?
Trinh T. Minh-ha carries a video camera herself, doing video-ethnography, nearly whispering as she films what she's seeing in the West African village: people who are thriving, self-sustaining & obviously extremely in touch with the environment since their food gardens are abundant & their bodies are quite healthy looking.
At the feminist conference where she presented her outstanding documentary, it was quite controversial because the mainly women audience of hundreds was upset with Trinh for focusing, as she did, on the naked breasts of the African women. In fact, she centered her film around them.
But, the astute filmmaker explained that she focused & centered her film on the African women's breasts because the village did. That photographs & films have been shown previously depicting dried out, empty women's breasts that were not capable of sustaining the lives of their offspring because they too were starving to death. (While the media cameraman probably had at least a sandwich for lunch!).
The abundance of food, the thrivance of the village as well, were represented by the full bossomed healthy & strong working African women.
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