#DirectedbyWomen Worldwide Film Viewing Party | September 1 – 30, 2017
Film Viewing Parties & Other Celebrations
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Trinh T. Minh-ha | “Forgetting Vietnam” (2015) CCA SF 9/22 Screening + Q&A
September 22, 2016 @ 7:00 pm - 9:00 pm UTC-7
We are proud to be the co-presenters of this event. Following the film screening, stay for the Q&A with Trinh T. Minh-ha in person. Free admission.
Internationally acclaimed filmmaker, feminist and postcolonial theorist Trinh Minh-ha’s work challenges the ethical bounds of ethnography, documentary and the gendered, raced politics of representation. Trinh’s Forgetting Vietnam (2015) interweaves musings on re-memory and history; water, gender and nationhood; warfare, landscape and labor. The film is framed by the 40th anniversary of the end of the American War and the current endless war against terrorism. The special screenings are part of the Love in the Time of War exhibition at SF Camerawork.
Vietnam in ancient times was named đất nứớc vạn xuân – the land of ten thousand springs. One of the myths surrounding the creation of Vietnam involves a fight between two dragons whose intertwined bodies fell into the South China Sea and formed Vietnam’s curving ‘S’ shaped coastline. Legend also has it that Vietnam’s ancestors were born from the union of a Dragon King, Lạc Long Quân and a fairy, u Cơ. u Cơ was a mythical bird that swallowed a handful of earthly soil and consequently lost the power to return to the 36th Heaven. Her tears formed Vietnam’s myriad rivers and the country’s recurring floods are the land’s way of remembering her.
In her geo-political situation, Vietnam thrives on a fragile equilibrium between land and water management. A life-sustaining power, water is evoked in every aspect of the culture.
Shot in Hi-8 video in 1995 and in HD and SD in 2012, the images unfold spatially as a dialogue between the two elements—land and water—that underlie the formation of the term “country” (đất nứớc). Carrying the histories of both visual technology and Vietnam’s political reality, these images are also meant to feature the encounter between the ancient as related to the solid earth, and the new as related to the liquid changes in a time of rapid globalization. In conversation with these two parts is a third space, that of historical and cultural re-memory – or what local inhabitants, immigrants and veterans remember of yesterday’s stories to comment on today’s events. Through the insights of these witnesses to one of America’s most divisive wars, Vietnam’s specter and her contributions to world history remain both present and all too easy to forget. Touching on a trauma of international scale, Forgetting Vietnam is made in commemoration of the 40th anniversary of the end of the war and of its survivors.