Trịnh T. Minh-hà

Trịnh T. Minh-hà

Рождение : , Hanoi, Vietnam

История

Trịnh T. Minh-hà (born 1952) is a Vietnamese filmmaker, writer, literary theorist, composer, and professor. She has been making films for over thirty years and may be best known for her films Reassemblage, made in 1982, and Surname Viet Given Name Nam, made in 1985.

Профиль

Trịnh T. Minh-hà

Фильмы

What about China?
Cinematography
The film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation.
What about China?
Editor
The film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation.
What about China?
Writer
The film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation.
What about China?
Director
The film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation.
What about China?
Voice
The film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation.
Forgetting Vietnam
Writer
“It all begins with two”: departure/return, earth/water, history/tourism… Starting from the ancient myth of Vietnam’s foundation – a battle between two dragons – and from the balance between earth and water that defines the country geographically, Trinh Minh-ha composes a palimpsest of words and images filmed in 1995 in Hi-8 video, then in HD in 2012. Words, superimposed, come and go like a graphic ballet that adds a layer to the archaeology visible in the landscape, a mix of ancient traditions and authoritarian attempts to eradicate them.
Forgetting Vietnam
Director
“It all begins with two”: departure/return, earth/water, history/tourism… Starting from the ancient myth of Vietnam’s foundation – a battle between two dragons – and from the balance between earth and water that defines the country geographically, Trinh Minh-ha composes a palimpsest of words and images filmed in 1995 in Hi-8 video, then in HD in 2012. Words, superimposed, come and go like a graphic ballet that adds a layer to the archaeology visible in the landscape, a mix of ancient traditions and authoritarian attempts to eradicate them.
bodies of the desert
Director
Trinh T. Minh-ha | USA 2005
Night Passage
Sound Designer
Night Passage is a digital film on friendship and death. Made in homage to Miyazawa Kenji's classic novel, Milky Way Railroad, the story evolves around the spiritual journey of a young woman, in the company of her best friend and a little boy, into a world of rich in-between realities. Their venture into and out of the land of "awakened dreams" occurs during a long ride on a night train. The filmmaker elegantly depicts each encounter in two-dimensional space with a unique artistic gesture and ingeniously frames the passage as a series of rhythmic image sequensces as seen through the window of a train.
Night Passage
Editor
Night Passage is a digital film on friendship and death. Made in homage to Miyazawa Kenji's classic novel, Milky Way Railroad, the story evolves around the spiritual journey of a young woman, in the company of her best friend and a little boy, into a world of rich in-between realities. Their venture into and out of the land of "awakened dreams" occurs during a long ride on a night train. The filmmaker elegantly depicts each encounter in two-dimensional space with a unique artistic gesture and ingeniously frames the passage as a series of rhythmic image sequensces as seen through the window of a train.
Night Passage
Writer
Night Passage is a digital film on friendship and death. Made in homage to Miyazawa Kenji's classic novel, Milky Way Railroad, the story evolves around the spiritual journey of a young woman, in the company of her best friend and a little boy, into a world of rich in-between realities. Their venture into and out of the land of "awakened dreams" occurs during a long ride on a night train. The filmmaker elegantly depicts each encounter in two-dimensional space with a unique artistic gesture and ingeniously frames the passage as a series of rhythmic image sequensces as seen through the window of a train.
Night Passage
Producer
Night Passage is a digital film on friendship and death. Made in homage to Miyazawa Kenji's classic novel, Milky Way Railroad, the story evolves around the spiritual journey of a young woman, in the company of her best friend and a little boy, into a world of rich in-between realities. Their venture into and out of the land of "awakened dreams" occurs during a long ride on a night train. The filmmaker elegantly depicts each encounter in two-dimensional space with a unique artistic gesture and ingeniously frames the passage as a series of rhythmic image sequensces as seen through the window of a train.
Night Passage
Director
Night Passage is a digital film on friendship and death. Made in homage to Miyazawa Kenji's classic novel, Milky Way Railroad, the story evolves around the spiritual journey of a young woman, in the company of her best friend and a little boy, into a world of rich in-between realities. Their venture into and out of the land of "awakened dreams" occurs during a long ride on a night train. The filmmaker elegantly depicts each encounter in two-dimensional space with a unique artistic gesture and ingeniously frames the passage as a series of rhythmic image sequensces as seen through the window of a train.
The Fourth Dimension
Editor
An elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light.
The Fourth Dimension
Writer
An elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light.
The Fourth Dimension
Still Photographer
An elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light.
The Fourth Dimension
Producer
An elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light.
The Fourth Dimension
An elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light.
The Fourth Dimension
Director
An elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light.
A Tale of Love
Producer
Portraying the Vietnamese immigrant experience through Kieu, A Tale of Love follows the quest of a woman in love with Love. Voyeurism runs through the history of narrative and is here one of the threads that structure the film. Playing with the fiction of love in love stories, the film invites a different experience of cinema with non-naturalistic acting and layered interaction of performed reality, memory and imagination.
A Tale of Love
Writer
Portraying the Vietnamese immigrant experience through Kieu, A Tale of Love follows the quest of a woman in love with Love. Voyeurism runs through the history of narrative and is here one of the threads that structure the film. Playing with the fiction of love in love stories, the film invites a different experience of cinema with non-naturalistic acting and layered interaction of performed reality, memory and imagination.
A Tale of Love
Editor
Portraying the Vietnamese immigrant experience through Kieu, A Tale of Love follows the quest of a woman in love with Love. Voyeurism runs through the history of narrative and is here one of the threads that structure the film. Playing with the fiction of love in love stories, the film invites a different experience of cinema with non-naturalistic acting and layered interaction of performed reality, memory and imagination.
A Tale of Love
Director
Portraying the Vietnamese immigrant experience through Kieu, A Tale of Love follows the quest of a woman in love with Love. Voyeurism runs through the history of narrative and is here one of the threads that structure the film. Playing with the fiction of love in love stories, the film invites a different experience of cinema with non-naturalistic acting and layered interaction of performed reality, memory and imagination.
Toc Storee
Novel
The film utilizes the story-telling format to create a multilevel narrative that explores the relations between speech, language, and desire. Addresses issues of sexuality, subjectivity, tradition, and identity in gay Asian contexts.
Shoot for the Contents
Director
Trinh T. Minh-ha's enigmatic documentary is a layered composition of artistic and political reflections on contemporary China. No stone is left unturned as Trinh interprets Chinese musical and operatic traditions, rural life, art, philosophy, calligraphy, storytelling, Confucius, Mao, Tiananmen Square, and the voices of women. Formally and intellectually daring, the film also incorporates techniques from abstract filmmaking to question the creative process of the filmmaker and the viewer.
The Machine That Killed Bad People
The Machine That Killed Bad People is about the cultural and political history of the Philippines leading up to the overthrow of President Ferdinand Marcos in 1986. It also addresses the role of electronic media in the struggle for power, and more broadly, American intervention in the Third World. Using a structure that emulates the way television news programs construct meaning through fragmentation, the tape interweaves clips of Filipino activists and reporters, a fictional television anchorwoman and correspondent, commentary by independent filmmaker Trinh T. Minh-ha, Fagin's off-camera voice and script, and anonymous excerpts from commercial television.
Surname Viêt Given Name Nam
Editor
The film evolves around questions of identity, popular memory and culture. While focusing on aspects of Vietnamese reality as seen through the lives and history of women resistance in Vietnam and in the U.S, it raises questions on the politics of interviewing and documenting.
Surname Viêt Given Name Nam
Writer
The film evolves around questions of identity, popular memory and culture. While focusing on aspects of Vietnamese reality as seen through the lives and history of women resistance in Vietnam and in the U.S, it raises questions on the politics of interviewing and documenting.
Surname Viêt Given Name Nam
Director
The film evolves around questions of identity, popular memory and culture. While focusing on aspects of Vietnamese reality as seen through the lives and history of women resistance in Vietnam and in the U.S, it raises questions on the politics of interviewing and documenting.
Naked Spaces: Living Is Round
Director
Shot with stunning elegance and clarity, NAKED SPACES explores the rhythm and ritual of life in the rural environments of six West African countries (Mauritania, Mali, Burkino Faso, Togo, Benin and Senegal). The nonlinear structure of NAKED SPACES challenges the traditions of ethnographic filmmaking, while sensuous sights and sounds lead the viewer on a poetic journey to the most inaccessible parts of the African continent: the private interaction of people in their living spaces.
Reassemblage: From the Firelight to the Screen
Director
A complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, Reassemblage reflects on documentary filmmaking and the ethnographic representation of cultures.