Flaherty NYC, EAT!: A 60th Anniversary Feast
Program 3:
“Devotional Cinema”
by Dan Finn
by Dan Finn
Beginning
on January 20th Flaherty NYC began a series of programmed events
under the moniker of EAT!: A 60th
Anniversary Feast. The series includes 6 programs occurring biweekly
through March 31, 2014. The series is programmed by Jason Fox, who is a
filmmaker, teacher, and graduate student. According to the Flaherty NYC website
he recently finished his own documentary on “lingering legacies of the
Phillipine – American War in the Phillipines.”[1]
He has taught at Vassar and CUNY Hunter College, the latter where he is working
on an MFA. He also is on the Board of Organization for Visual Progression, a
group that partners with social justice organizations to teach visual media
tools as an advocacy method.
The overall
arc of the series is to bring programs together featuring video, film, games,
and augmented reality works together that all feature the use of food. The
curatorial angle on these moments is to look at food as a metaphor for the
globalization of culture. Also from the website, “In our current culinary
moment, local politics and global policies are entering us through our mouths.
EAT! offers a series of interventions on those moments when our bodies are at
their most vulnerable, at the moments when consumption breaks down the
boundaries between our selves and the world.”[2]
Another curatorial decision for each program, as a nod to the Flaherty
Seminar’s 60th anniversary, is to feature one work which Flaherty
has screened previously in the last six decades.
I attended
the third program of the series, entitled “Devotional Cinema,” that took place
on February 17, 2014 at Anthology Film Archives at 7pm. Featuring 8 short works
by 4 makers, Fox’s description for this chapter of the series was as follows,
“Ruminations and ruptures in Islam, dietary law, family, multi-national
corporations, and other forms of devotion as the ties that bind, fragment,
reconcile, and liberate the body and the social.”[3]
The other programs in the series are entitled “Friends with Benefits,” “All
that Glitter,” “Chop Suey: A Talk on the Work of Theresa Duncan,” “Waste, and
Other Forms of Management,” and “Pot Luck: An Augmented Reality Walk.” All have
or are scheduled to take place at Anthology Film Archive, and follow the same
structure. Screening is followed by a panel discussion and Q&A with a guest
or guests, and later there is wine and snacks with further informal discussion.
The works
screened at the program are as follows:
·
Different
World (dir. Yasmin Ahmad, Malaysia, 1997, 2 minutes, digital file). “Commissioned
by Petronas, this long-form commercial aired across Malaysia during a rare
occasion when the Chinese New Year and the Islamic holiday, Eid Ul Fitr,
coincided with one another. A Chinese boy is lured from his studies into the
open air by the off-key tune of a Malay girl. The boundaries between self
and other dissolve as our protagonist and his lure explore the sensual pleasures
of the abundant fruit on display.”[4]
·
The Tree
(dir. Amir Muhammad, Malaysia, 2009, 3 minutes, streamed via 15malaysia.com)[5].
“In this very short film, the director asks the Malaysian politician and
spiritual leader, Tok Guru Nik Aziz, to explicate a short hadith from the
Qu’ran. From the director: ‘The visual backdrop for most of it is
Kota Bahru’s Pasar Siti Khatijah, a market run primarily by women, an
interesting contrast to the more patriarchal image of Islam. It’s really
something short and simple. It’s probably the least ironic thing I have made —
except for my cameo perhaps. It occurred to me that a hadith is actually like a
short film; it can be seen as merely an anecdote, but can be teased out and
expanded more if your heart is open to it. Or you can just say: ‘I don’t
understand’ and get on with your life; that’s cool, too.’”
·
Chicken
Soup (dir. Kenny Schneider (USA, 1970, 14 minutes, 16mm). “Follows the home
preparation of kosher chicken soup, from the slaughter to the slurp, with a
direct-cinema camera style that is at various times riveted and repulsed by
what it captures.”
·
Chocolate
(dir. Yasmin Ahmad, Malaysia, 2009, 3 minutes, streamed via 15malaysia.com). “A
short and not entirely sweet parable about the divide between the Malay and ethnic
Chinese in contemporary Malaysia, centered around a small bar of chocolate.”
·
Pangyau (dir.
Amir Muhammad, Malaysia, 2002, 13 minutes, digital file). “From the Director: ‘When
I took a few Cantonese lessons, I remembered a friend who is no longer here. Which
is not to say he’s dead.’”
·
Friday
(dir. Amir Muhammad, Malaysia, 2003, 8 minutes, digital file). “Sacred and
profane thoughts during an afternoon at the National Mosque.”
·
The Diving
Women of Jeju-Do (dir. Barbara Hammer, USA, 2007, 30 minutes, Betacam SP).
“For hundreds of years, women have carried on a fishing tradition on the South
Korean island of Jeju-do. They dive without a breathing apparatus to
collect sea urchins, octopus, shellfish, and seaweed. These women live
without health insurance, however, and they are more likely to sustain
themselves with drugs and nutrient shots than they are with their daily
catch. The tradition is dying out as more and more women choose to avoid
the arduous and uncertain form of work.”
·
Old Folks (dir.
Yasmin Ahmad, Malaysia, 2007, 2 minutes, digital file). No description online,
but it is another Petronas commercial, wherein 4 elderly Malaysian mothers brag
about their sons while sharing a meal. The first three have successful, wealthy
doctors and lawyers, but they live abroad. The last one says nothing of wealth
or prestige, only that her son is always bothering her and taking her places,
and then her son arrives and takes her on a trip with the family, and the other
three mothers look on somewhat jealously.
Upon admission, audience members were handed paper programs.
The programs contained the same information as provided in the event e-mails
and online. This included the panelists, a short introduction to the program’s
theme, the description of each work, information about each filmmaker,
description of the programmer, background on the entire series including future
programs, and background on Anthology. The showing was well attended, and began
with brief introductions. The first was from a woman for Flaherty NYC, who
introduced the programmer, Jason Fox, and encouraged the audience to stay for
wine, chips, and discussion after the panel and Q&A. Fox’s introduction was
also brief, explained that Barbara Hammer and Amir Muhammad would be with him
on the panel, Muhammad joining the discussion via Skype from Malaysia, where it
was very early in the morning. The screening began without much direction as to
interpretation from Fox, which was left for the discussion. The screening took
place in Anthology’s Maya Deren theater, and it provided sufficient space for
the audience while maintaining a level of intimacy during the panel and
Q&A.
Although Fox left the works to
speak for themselves until the discussions afterwards, the program material
allowed for certain thematic strains to coalesce during the screening. Having
multiple selections from each of the Malaysian video-makers allowed their
personal styles to become apparent. Ahmad’s was somewhat minimalist. Two were
composed of images taken at one location (a marketplace in Pangyau and a popular mosque in Friday)
accompanied by a single voice. In Pangyau
a narrator speaks to his interaction with a Chinese friend in school. Ahmad
mentioned in the discussion afterward that Malaysians periodically have
cultural conflicts with the Chinese minority, and this notion is apparent in
the narration of the tale. While there is no explicit connection between the
scenes of the marketplace and the narration, the cultural tensions implicit in
the narrative underscore recurring scenes of Chines and Malays sharing meals or
eating cuisine from the respective nations. In Friday there is no voice, but a textual narrator, and the text
offers some amusingly critical ideas on Islam and Malay practice of Islam which
underscore the scenes around the mosque. Ahmad’s pieces are all commercials,
and also all dealt with Malay and Chinese tensions with a level of
sentimentality, which was directed at lowering these borders.
In the context of the series’
theme, each film spoke to culture either directly or indirectly through food
imagery and themes. Chicken Soup
featured an older Jewish couple preparing soup; the husband kills the chicken
at the beginning, and then the wife prepares it. In Chocolate an adolescent Chinese shop owner tends to an adolescent
Malay customer. The shop owner’s mother yells at him in Chinese about not
taking too long on the Malay, who wants to purchase a chocolate bar in addition
to other goods but hasn’t enough money. In Different
World Ahmad uses another pair of adolescents, one Malay and one Chinese,
and this time they go together trying different fruits at a market, the act
having sensual as well as cultural overtones. The other works shown did not
feature food as centrally, but it was noticeable and one could not help but
notice them given the series’ title and the accompanying program literature.
For instance, Hammer’s piece centered on a declining trade on an island in
Korea, and did not deal directly with food. Yet many powerful scenes show
Hammer interacting directly with the women she documents, and this often
centered on food; the preparation of a meal, or one woman thanking Hammer for
giving them money to buy food.
Once the screenings completed,
Barbara Hammer was invited to a seat in front of the audience next to Fox, and
the audience waited for the Skype connection with Muhammad. The image from the
Skype call was projected onto the screen at full size. This led to a humorous
appearance in the panel; two relatively small present panelists below the
massive head of the third. The discussion was informal, and the panel portion
lasted briefly to make room for audience questions. Most of the panel portion,
prior to Q&A, dealt with the filmmakers’ works and general style. Muhammad
spoke to Ahmad’s films, as they were acquainted before she passed in 2009. His
comments here revealed that during her life she was viewed as overly
sentimental, but now she is gaining in popularity and acclaim. In Muhammad’s
opinion, one reason for this change is that Malaysia is at a point where
tensions are rising between Malays and the Chinese minority, giving the
sentimentality in her films a new depth in many ways.
One sign of success for the program
was that the Q&A session was active, signaling an engaged audience. While
it seemed most of the audience were regulars for Flaherty events, there was
also a small segment of Malaysian students there. This led to one very
interesting connection during the Q&A. A Malay woman in NYC attending
Hofstra University for documentary filmmaking addressed a question to Muhammad.
Before posing the question outright she mentioned she was a giant fan of his,
and that he was a big part of why she was in NYC attending school for
documentary filmmaking. This event in itself rhymed beautifully with some of
the notions expressed in the curatorial bent of the overall series. As the
series attempts to investigate global culture and media interaction, here we
had a number of layers for each. The Q&A created a connection that was at
once local to two Malaysian filmmakers, but took place internationally over a
relatively new medium, Skype.
Another way the Skype call seemed to interact
with the series was perhaps unintentional, but provocative nonetheless. It
appeared clear to me that given the bizarre sight of the panel, with one member
Skyped-in, that Anthology, as a traditionally film and video oriented venue,
was not accustomed to such a use of its space. Muhammad was at once unaware of
how massively visible he was to the audience, and not able to see the audience at
all (instead he saw the darkness of the projection booth in which the computer
was located). Due to this, while Hammer would speak at length he would
sometimes do other things, such as check e-mail or surf the internet, which he
must have imagined being less intensely obvious as it was for the audience. In
a way that is hard for me to articulate the sort of mini-fissures between
Muhammad and those present spoke to the ways that Internet media makes the
world more connected but disconnected at the same time. The processes used to
negotiate the shrinking world and the dissonances that arise seem to me an
important part of what is being explored by the series.
Muhammad disconnected before the
informal wine and chips portion, for obvious reasons, but this portion was
equally important to the series. As a group of programs focusing on discussions
of cultural interaction around food, here is the audience discussing its
response to the films while consuming food together. It adds a layer of meaning
to a commonplace element of programming and curation. Hammer was very welcoming
to anyone curious to ask a question, although there were clearly a number of
attendees with which she was well acquainted. After one or two glasses each,
the people who had stayed for this portion began to go home, and the night had
ended.
The only available account of the
evening was posted on the program site itself. It does not seek to interpret
the evening but instead provides a well detailed account of the discussion
section.
In general, I believe the screening
was a curatorial success. The elements within the structure of the night itself
as well as the works screened spoke to the curatorial ideas present in the
literature surrounding the series. While Fox did not spend much time explicitly
arguing how the night had to deal with the series’ theme on food and global
culture, the event was able to do so quite well on its own, and given the
attendance during the films, the panel, and the informal discussion over wine,
the audience was also thoroughly convinced that the evening had a lot to say
for itself.
[1]
Flaherty NYC, “Winter/Spring 2014 Flaherty NYC,” http://flahertyseminar.org/flaherty-nyc/winterspring-2014-flaherty/,
accessed 2/27/2014.
[2]
Ibid.
[3]
Flaherty NYC, “Program 3: Devotional Cinema,” http://flahertyseminar.org/program-3-devotional-cinema/,
accessed 2/27/2014.
[4]
This and the descriptions that follow come from the program notes and can be
found online, Flaherty NYC, “Program 3: Devotional Cinema,” http://flahertyseminar.org/program-3-devotional-cinema/,
accessed 2/27/2014.
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