History and Memory: For Akiko and Takashige

Tajiri, Rea

doi:10.1037/e521362011-001

Cited by 4 publications

(3 citation statements)

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“…I had never been there, yet I had a memory for it. " 34 Such anx i eties do not merely indicate the limitations of formal redress. They also point to the ways in which intergenerational memories of family internment among Japa nese Americans take unnamable forms, or a "sometimes dull, sometimes visceral feeling of unknowing-a psychical lack. "…”

Section: Encountering Memories To Lightmentioning

confidence: 99%

“The Right Kind of Family”:

Baik¹

2019

Screening Race in American Nontheatrical Film

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In March 2013, the Center for Asian American Media (caam), a nonprofit organ ization based in the San Francisco Bay Area, launched Memories to Light, a proj ect committed to the preservation and digitization of 8mm, 16mm, and Super 8mm films shot by Asian Americans between 1930 and 1980. 1 Through this proj ect, caam makes available, for the first time, privately owned home movies to a virtual audience in and beyond the United States. Since its inception, Memories to Light has collected over two hundred reels of film from participants throughout California. While these accumulated home films are stored in the Internet Archive, a digital library open to the public, a se lection of digitized home film collections are showcased on the Memories to Light website. 2 An expansive proj ect undertaken by caam, Memories to Light holds significant implications for scholars in film studies, visual culture studies, and ethnic studies. Specifically, the online presence of these digitized home films provides an accessible means to imagine the textured lives of Asian Americans during a period characterized by racial vio lence, exclusion, and loss. Between 1800 and the 1960s, Asian Americans were precluded from U.S. citizenship through policies and practices such as immigration exclusion acts, state surveillance, and internment. 3 Unsurprisingly, popu lar print media and commercial film produced throughout the twentieth century portrayed Asian Americans as foreign "Orientals" affiliated with disease, vice, and ill intent. 4 Epitomized by the silver screen's racialized caricatures of Fu "

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Section: Encountering Memories To Lightmentioning

confidence: 99%

“The Right Kind of Family”:

Baik¹

2019

Screening Race in American Nontheatrical Film

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“…In particular, we walk in the footsteps of women of color feminist scholars, decolonial and experimental filmmakers, and anthropologists committed to collaboration. We draw inspiration from women experimental filmmakers past and present who have translated their lived experiences into powerful visual worlds (Anderson 1969; Borden 1983; Deren and Hammid 1943; McIntyre 2012; Siegel 2008; Soe 1992; Strand 1986; Tajiri 1991). We build on the work of ethnographic filmmakers and Indigenous media collectives who have innovated collaborative methods and challenged “fly on the wall” approaches by prompting viewers to question documentary “truth” (Karrabing Film Collective 2015; Miyarrka Media 2019; Rouch and Morin 1961; Trinh 1985, 1990).…”

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confidence: 99%

Feminist Sensory Ethnography

Guzman¹,

Hong²

2022

Visual Anthropology Review

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In this article, we call for a feminist sensory ethnography that centers relations of care, subjectivity, and power between filmmakers, film "subjects," and audiences. Through in‐depth discussion of two films, Smile4Kime (Guzman 2023) and Nobel Nok Dah (Hong, Lai, and Mihai 2015) we explore three techniques of feminist sensory ethnography—a multisensorial theory of the flesh, sensory accompaniment, and narrative intimacy—that draw on feminist and non‐Western genealogies of sensory knowledge production. We see this move away from observational filmmaking as a “politic of necessity” (Moraga and Anzaldúa 2015) through which the sensory is imbued with embodied knowledge.

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“…Marker's use of fragments, juxtaposition, and his attention to banality set forth the possibilities of poetic forms that, situated between creating and documenting, could thus engage these fragmentary forms of reality. Other films, such as Taijiri's () History and Memory ( for Akiko and Takashige ), also address the relationship between documentary and the expressive through the poetics of imagination and its relation to reality. By juxtaposing personal stories, popular movies, objects, and invented memories of the Japanese interment camps during World War II, Taijiri re‐creates moments and histories that have been forgotten by those who experienced it—or reshaped by official and popular propaganda.…”

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confidence: 99%

Where the Air Feels Heavy: Boredom and the Textures of the Aftermath

Orrantia¹

2012

Visual Anthropology Review

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Set between an evocation and an ethnographic documentary, this essay explores aspects of aftermath of terror as an affective experience. Working through visuals and writing, I recall banal moments that disrupt the politics of forgetting by showing forms of remembrance through spaces, looks, or moments of simplicity. These moments signal leakages in official definitions of memory in otherwise classified spaces of nothingness, lethargy, and apathy. The article thus extends the evocative potential of photography and narrative writing as means to engage with multidimensional and hazy expressions of the experience of the aftermath of terror. [Colombia, evocative documentary, memory, photography, terror] * Boredom is a warm and gray fabric lined on the inside with the most lustrous and colorful of silks. In this fabric we wrap ourselves up when we dream. We are at home then in the arabesques of its lining. But the sleeper looks bored and gray within his sheath. And when he later wakes and wants to tell of what he dreamed, he communicates by and large only this boredom. For who would be able at one stroke to turn the lining of time to the outside? Yet to narrate dreams signifies nothing else. [Benjamin 1999, The Arcades Project] Juan Orrantia (b. Bogota, Colombia) works on long-term nonfiction projects that explore the evocative possibilities of documentary photography. With a background in cultural anthropology and documentary studies, his series also rely on sound, text, and diary narratives as ways of addressing questions of intimacy, memory, violence, and the everyday. His work has been exhibited in South Africa and Colombia, he received awards such as the Tierney Fellowship in Photography, and he participated in various group shows

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History and Memory: For Akiko and Takashige

Cited by 4 publications

References 0 publications

“The Right Kind of Family”:

“The Right Kind of Family”:

Feminist Sensory Ethnography

Where the Air Feels Heavy: Boredom and the Textures of the Aftermath

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