Speaking Nearby: Trinh T. Minh-ha’s Video Art and Daily Discourse Practices 在旁言说：郑明河的影像世界与日常话语实践
About the Event 关于活动
Reassemblage (1982) is the first film by Trinh T. Minh-ha, a 16mm piece shot in Senegal. It was in this film that she presented the notion of “speaking nearby”, a strategy running through all her practices ever since to observe and delve into the fluid changes of the “visible and invisible, exposed and unexposed” elements of the third world (especially female world). As an intertextual work of Surname Viet Given Nam (1989), one of her seminal films, Forgetting Vietnam (2015) leads audience on a poetic “stroll” through the images of contemporary life in Vietnam.
Trinh T. Minh-ha’s works break the media boundaries of “documentary reality” and challenge the “objectivity” of anthropological and ethnographic images by resorting to body, voice and film montage. “Hear what you haven’t heard and see what you haven’t seen”. Trinh T. Minh-ha’s films and daily discourse practices cast light on a different kind of possibility to access the world we live in. According to the artist, as soon as the shooting starts, you’ll need to leave everything else behind and go into it in a state of utterly ignorance; or in other words to “travel in the dark”
On the closing day of Trinh T. Minh-ha: Traveling in the Dark, a film talk and two screenings (Reassemblage at 14:00 and Forgetting Vietnam at 16:10) will be presented. The talk will be given by Ms. Wang Lixin, professor at Meishi Film Academy of Chongqing University and executive director of the Institute of Culture and Creative Industries at Chongqing University. She studied with professor Trinh T. Minh-ha during her post-doctoral fellowship at UC Berkeley, from which she gained a lot of inspirations. The poetic, unconstrained and unique creative practice and academic style left Wang with profound influence, inspiring her to pay attention to localized practices of modernization. After her return to China, she chose the rural society of southwest China as the subject for field research, and spent six years shooting the documentary film Mountain of Nothingness (2022). Professor Wang will start with her impression of Trinh T. Minh-ha - her “gentle yet tough” personality and multiple identities that cross different fields; delve into her approach of “speaking nearby” through the two films Reassemblage and Forgetting Vietnam; and finally, make a comparison between Trinh T. Minh-ha’s works and Mountain of Nothingness to further probe into the daily discourse practices to access the world we live in.
《重组》（1982）作为郑明河第一部电影作品，是她在非洲塞内加尔用16毫米胶片拍摄的一系列影像。正是在这部影片中，郑明河先锋性地提出了“在旁言说”（just speaking nearby）拍摄观念，自此，体察与表达第三世界（尤其是女性世界）的“可见与未见、敞开与隐蔽”元素的流动变化，贯穿了郑明河的全部创作。《遗忘越南》（2015）作为其代表作《姓越名南》（1989）的互文性文本，以其诗意性的影像语言，“漫步”式的观感方式，展示了现代化进程中故土家园的浮光掠影。
概言之，郑明河作品通过诉诸身体、音声和电影蒙太奇等手法，打破了“纪录真实“的媒介边界，并对人类学和民族志影像的”客观性“提出挑战。“闻你所未闻，见你所未见”，郑明河的影像作品与日常话语实践，揭示了进入我们生活世界的另一种可能。如她所言:“只要拍摄开始，你就要将这些东西抛开，以一种一无所知的状态去进入，这也是我所说的‘走进黑暗之中’（Traveling in the Dark ）的一部分…
About the Speaker 关于讲者
Wang Lixin is professor at Meishi Film Academy of Chongqing University and executive director of the Institute of Culture and Creative Industries at Chongqing University. She holds a PhD in Film and Television Literature from Sichuan University. She is a postdoctoral fellow at Peking University (China), the University of California, Berkeley (U.S.) and the University of Helsinki (Finland). Her research field is film and TV criticism, semiotics, creative industries, art history and Chongqing local cultural studies. In 2016, she was selected as “Leading Theoretical Talents” by China Radio, Film and Television Federation; and in 2019, candidate for the third batch of Chongqing Academic Leaders in Drama, Film and TV Studies. Her recent publications include: Archaistic Fashion and China-Chic: Aesthetic Metaphors of Modernity and Mechanisms of Meaning Production in Online Short Videos; Differences within Sameness: Genre Evolution and Nationalized Narrative Tradition of “Beijing-Flavored” TV Series and Media Studies and Ethnicity, Discourse and Experience of Modernity in Films and Television. She is the director of Mountain of Nothingness, a documentary film that has been screened at various film festivals and academic forums both in China and abroad.
近期代表性论著：《“古风国潮”：在线短视频的现代性审美隐喻与意义生产机制》、《同中之异：“京味儿”电视剧的文体演变与民族化叙事传统》、《媒介研究与影视中的族群、话语、现代性体验》，个人执导的中国乡村纪录片《野池山纪》（Mountain of Nothingness）曾在国内外多个影节与学术论坛展映交流。