User:Womanimalmachine/sandbox

Night Passage (98mins, digital, 2004) (fiction)
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 Minh-ha'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, Minh-ha 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." Throughout Night Passage, Minh-ha and Bourdier meditate on liminal spaces and identities as well as processes of digital cinema.

As a Vietnamese living in the United States with a diverse diasporic intellectual position, she tells us how hard it is to find an authentic voice for the Other, since all subjectivities are formed in discourse and shaped by the power and knowledge of discourse. The truth of experience can't simply be told; instead, the discourse itself that produces truth must be questioned.As a Vietnamese living in the United States with a diverse diasporic intellectual position, she tells us how hard it is to find an authentic voice for the Other, since all subjectivities are formed in discourse and shaped by the power and knowledge of discourse. The truth of experience can't simply be told; instead, the discourse itself that produces truth must be questioned. Trinh's films, photographs, music, and theoretical writings all address the issue of defining oneself as a "subject," both as an individual and in relation to other women from various cultural and national backgrounds. Her innovative work is deeply rooted in postmodern and postcolonial projects on the complexities of subject formation and how subject-identities are constantly in the process of becoming. The subject formed through the experience of being at and crossing over borders—of official white culture, patriarchal thinking, geographical frontiers and colonial territories—challenges the dominant discourse's right to talk about and define the Other. [6]

Trinh T. Minh-ha elaborates on Reassemblage. She examines the themes of postcolonial identification and the geopolitical apparatus of disempowerment in Reassemblage to create an ethnographic essay-film on identity, the impossibility of translation, and space as a form of cultural representation.[dead link] [10]

What About China? (135 mins, 2022) What About China?[27] is an essayistic reflection on rich and complex history of China and also of the film medium. Trinh T. Minh-ha in this film goes back to the materials she shot in the southern and eastern China in the early 1990s. Instead of searching for the “true” China, What About China? is a question posed to delve beneath the surface of our everyday assumptions about the country which are mostly based on the media coverage and official narratives.[28]

Added references: McCabe, Janet (2012). Feminist Film Studies: Writing the Woman into https://cphdox.dk/film/what-about-china/ https://bombmagazine.org/articles/trinh-t-minh-ha/