The narrow spaces around the paper made the project quite an obstacle course.
I decided to add in Norman Klein's book, The History of Forgetting, into my research. While I didn't read the book all the way through, and only read parts for my American Studies class (and is mainly about L.A.), I realize that Klein's idea of forgetting and remembering -- "in order to remember something, you have to remember something" -- was an underlying theme and thought during this project.
On the 25th, I did my third 24-hour piece, a video. It was really cool to see my thoughts on the project/idea thus far get translated, or be seen in video form. (Depending on how you want to view the video, you may jump down to the link below and watch it before reading my thoughts on it).
Using pieces (music and actual footage) of Chan is Missing -- a film that was one of my main research points, and one that features my great aunt's husband -- is a nod to authenticity. The two songs themselves, contrasted effectively by director Wayne Wang, call into question authenticity of place/identity. I placed the songs with images I thought fit together (I just kept the second song where it was in the movie, in he beginning with Jo driving the cab). The last part of the video I left without sound, as it is the most authentic version of my identity (and so I didn't want to give anything else to be analyzed by the viewer) and it is what I know the most even though it may not appear to be so -- it is the view looking out of/up from my sleeping bag at my (Chinese) grandparents home that my grandpa built and my mom and her sisters grew up in. Not sure if this needs to be said, but I really love the part in the video where my reflection is seen on top of the scene with Jo (Uncle Woody) in it. I was at first upset at not figuring out how to steal the scene for the video, and then found that I liked being forced to see my reflection of capturing the scene. Layering mediations of identities. This project definitely was made stronger by "happy accidents." Not quite sure what I was trying to do with the video at the time, I think just giving a backdrop, or more material to give another meaning/perspective to my poem-like stories of my first 24-hour project. Looking at it now I feel I ended up questioning the layering of generations and the changing meanings (of Chinatown, ultimately of being Chinese American, which is what Chan is Missing is all about) that come with time and perspective. Watch it here. As I've already mentioned, I went to Chinatown on the 20th. While there, I filled up a disposable camera, taking photos of things I found interesting. I had been planning for this to be my second 24-hour piece, but after losing the camera in my house (in Berkeley) and going "home home" without starting the developing process, I realize there is not enough time before it’s due to get the photos developed. I am now onto plan B, which I will be working on soon -- photos to come. It is a sort of play on the authenticity/fantasy of Chinatown. Does it even matter if my photos are seen? Will they look any different than any other photos taken there? I plan to have my camera be in the piece (I had a moment of clarity as I was going to bed one night away from Berkeley, texted my housemate to check if it was where I thought it might be, and sure enough, it was there), along with a series of photos stolen from the internet related to Chinatown. This plays nicely with the sort of cliche yet mysterious Chinatown that I have been thinking about and exploring. |
Authortrying Archives
December 2015
Categories |