Caught Between Two Worlds—A Scene Analysis of ‘Surname Viet Given Name Nam’ (Trinh T. Minh-Ha, 1989)

How do I make a documentary that dispels the relevance of the term ‘documentary’? This is a question that seems to pulse through Trinh T. Minh-Ha’s work, most notably in her seminal film Surname Viet Given Name Nam (1989). Continue reading Caught Between Two Worlds—A Scene Analysis of ‘Surname Viet Given Name Nam’ (Trinh T. Minh-Ha, 1989)

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art, Women's Day 2022

LaToya Ruby Frazier’s ‘The Notion of Family’ (2001-2014)

The camera’s capacity to act against the intractable march of time, the “slow deterioration” of Frazier’s family and town, is enabled in large part by her method of working, through the years-long, collaborative relationships Frazier establishes with her photographic subjects. Continue reading LaToya Ruby Frazier’s ‘The Notion of Family’ (2001-2014)

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