Thursday, June 25, 2009

What's an artist s'posed to do?


OK, I'm sufficiently stuck to warrant another posting. This time, an outright appeal for feedback.

After the bureaucratic hassle, I found out I could have been working the whole time on the streets. All I really needed permission for was shooting in a specified area, the Citadel (and Imperial Palace) -- coincidentally, modeled after Beijing's Forbidden City. Still waiting to hear about that paperwork although I should get approval soon.



Since my last news, I've broken the seal and started shooting several sites around the city that have caught my attention. One is a few intriguing and highly spiritual spots where shrines have been nestled into what seem to be huge banyan trees. I don't know what I'll do with the footage yet but I am starting to collect a series of images where man-made and "natural" things come together in funky ways. These shots will be part of the largely tripod-based "landscape" footage of Hue.

Then I have reconnected with an acquaintance from my former long stay in VN, a cousin's cousin about my age. She's a Hue native and has great contacts. She introduced me to a friend of hers who used to write poetry but has now stopped since she got married and her husband objected to such activity. She owns a gallery and has important artist and poet connections. She's been gracious enough to introduce me to a few. So, the plan is to make a video about the dialogue among (about 5) select contemporary Hue poets and artists and myself (and later on, my own poetry, perhaps).

[So memory and militarization, especially the later, have largely fallen to the wayside in my thinking. Mostly, overtly or even not-so-overtly political commentary will be problematic. Some authorities will review my footage before I leave. Also, I want to potentially screen for a VN audience here in my future trips back. So, I have to avoid political statements. But hopefully I can still dig deeper past the veneer that Hue is VN's capital of culture, art, and poetry. Or exploit it.]

The problem is, I don't know how to think about the way I'd like to shoot the people. Interviews will be boring. I was thinking of having people take me to the spots around Hue that inspire them and talk about those places. Or, of having two of the poets ride with me on a lil boat down the Perfume River while they give commentary on various aspects of the land, culture, and poetry here. Also, I hope to get some artists at work in their studios. I think I'll do handheld shots for most of the footage with people but then I can't yet envision how that will fit in with the tripod shots of landscapes that so far have appealed to me. Also, I'm not sure how to make shooting these artists/poets interesting. They seem to think I should direct their interactions / get-togethers but I am not that comfortable with heavy-handed prompting... But I don't see how else they would have imperative to bring up these things which are so woven into the fabric of their everyday lives.

Lots to decide!

4 comments:

  1. Hello Mango,

    Yes... the everlasting problem of the interview. Lucky for you, you are working with people who know how to creatively express themselves! If you hope to make the project more collaborative, you might consider having a pre-interview meeting to gain a sense or their forms of perception and artistic modes. I don't mean that you should use such a meeting in order to imitate them. Rather, I'm thinking of how Sarah met with her blind subjects before filming them. By allowing her discussions with her subjects inspire her approach to the interview, she removed the feeling of interview from her films altogether. Also, food really softens people, maybe you will get more artist input over a meal?

    Does that make any sense? I've been crunching out stats for the past 6 hours and am not sure if I'm thinking clearly at the mo...

    Keep us posted!
    Elisa

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  2. I would be fascinated by a film about any one of these people. Suppose you started with the gallery owner. I'd be curious to see her at work in her gallery, her dealing with an artist or artists, an exhibition, her home life. I'd love to know who she is and what has happened in her life: she could speak about this in voice-over. I'd love to hear a couple of her poems if they reveal anything about her sensibility or her world (as I'm sure they would). You could move from filming her to filming one of her artists using the same techniques. Perhaps there would be three or four such portraits in the film, or perhaps one is enough if you could go into enough depth (a film about the gallery owner and her world, her family, her city, her past...).

    Talking-head interviews are less flexible and more forbidding for many subjects. They're hard to cut too and usually require a lot of screen time. Also, I don't think I would burden people with having to talk interesting about places they might take you to. It rare that one finds a person who is so compelling a talker that he or she can hold the viewer's attention long enough to be the main element in a film or scene. But many people have fascinating things to reveal if they can talk about their own experiences and tell stories without being put in a situation where they feel they must entertain.

    Does this help?

    Best,
    ALFRED

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  3. Anh-thu!

    I was just having the same thought/prob (see my post-which I'm about to post)... its seems hard to get at (to use a Kleinman phrase) "what really matters" to people without just straight-out asking them , and in which case, you often get these pat or trite responses. I'm meeting with a charismatic woman in a few minutes who I really have just a one-shot chance at getting what matters to her. I have three days left and the part (1/3) of my film that is this story is seriously lacking.
    I have found however, that if you spend enough time with people (something I do not have) you can begin to learn what small events even in their everyday lives reveal things about them in ways that do not require the “Interview.” For example, with religious folk, I’ve it very useful to ask if I can film their prayer sessions (intercessions, as they call them) because if you can get at what someone prays for, then you can know what matters to them.
    Just some thoughts, hope it triggers something for you!
    Best of luck!

    Julia

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  4. Eww, bureacracy. Eww, paperwork. I can’t believe the authorities screen your tapes before you can leave the country! Talk about censorship. I agree that straight-up interviews would be boring, and doesn’t it always seem like interviewees end up talking to and for the camera rather than falling into a natural flow of conversation? Rather than planning “talk time” where your subject will feel compelled to perform, maybe you can sneak in through the back door by spending time filming them doing what they do. After your subjects spend a few hours with the camera, it will probably become to them as inanimate as a chair or a fork, and any questions you ask will be coming from you instead of the camera. I could also see conversational footage while your subject is in his or her element as being particularly strong. In my mind’s eye, your gallery owner sets down a painting to carefully contemplate your question, and your poet pauses with his pen poised above paper to tell you about some early childhood memory. I think I’m just reiterating what Alfred and Julia said, but I do agree that going informal and finding backdoors is a good way to go! Good luck, and let us know what ends up working. ☺

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