Trinh Minh-ha created a static environment for those who are immersed and familiar with classic Hollywood narrative films. "A film about Senegal. But what about Senegal?" (Minh-ha). Messages with a code appear in her film Reassemblage (1982). Through her soundtrack, she creates an arguable focus around vococentric dialogue. Her voice of god narration is soft and takes attention towards it with our undoubted recognition towards informative masculine voices more commonly found in documentaries.
But I believe here she is not being informative; as one would expect. She is creating space for observation (as opposed to information). Minh-ha, throughout this experimental documentary, attacks the ideas of the 'us' and 'them' as well as our understanding of the developed and underdeveloped countries. After viewing this film I sought to understand the title. The way in which the film is edited makes me recognize the format as a spectacle for looking; but not for too long. Which further leads us to watch actively as opposed to passively. She is assembling her film in a way that challenges the idea of the assumption that the camera can create verisimilar environments.
It makes me think about the validity of truth. The saying 'out of sight, out of mind' comes into play. Perhaps, for this situation, if it is out of sight it keeps you wondering. Your curiosity may carry you to want to find out more. Not to seek the truth exactly, but another perspective that is not presented.
I really love your descriptions of "Reassemblage" and I think that you hit the nail on the head. "Static environment" is a spot on way to describe the way "Reassemblage" makes most viewers feel as it definitely creates a disorienting and unsettling environment for those used to narrative films. I also like your mention of her soft "voice of god" narration and its contrast from typical masculine narration voices. This is not something I have considered before, but I think it is a really interesting point to bring up and is yet another component that separates this documentary from others.
ReplyDeleteI really like the ideas you bring up of how ground breaking this film in or how it can be see as unordinary. With the ideas of having a female narrator and how the film attacks the stereotype views of 1st world countries about countries labeled as 3rd world countries. I also found your ideas about analyzing the title very interesting.
ReplyDeleteAstra, you thoroughly address many aspects of Trinh T. Minh-ha's 1982 documentary "Reassemblage." I, too, found myself questioning the ethics and call-to-action of understanding underdeveloped countries in this particular way. While her perspective captures the 'out of sight, out of mind,' it also brings insight into the beauty of an active community-oriented lifestyle. Yes, the spectacle of looking makes our Western viewing feel highly questionable! It sounds like you, too, are debating the objectivity of those in front of the camera. There are so many things that we are missing, yet, so many things that Minh-ha has exposed us to just from this tiny look into this Senegalese village. I enjoyed your blog entry... I also found your thoughts relatable and enlightening!
ReplyDeleteDelilah Rose
I also think that this documentary forces the viewer to watch it fully engaged. So much is going on and changing all the time that it's impossible to zone out. It also would be pretty incomprehensible if the viewer wasn't thinking critically while watching it.
ReplyDeleteYou brought up the title. I never thought about the title and how it related to the film. I like how you used it to explain the why she made the film as she did. I also like that idea of out of sight, out of mind. That is really what she is trying to disprove.
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