Relevant bibliographies by topics / Trinh T. Minh-ha

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Trinh T. Minh-ha'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Trinh T. Minh-ha"

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Fausty, Joshua. "Trinh T. Minh-ha Essaying Ethics." Afterall: A Journal of Art, Context and Enquiry 23 (April 2010): 98–106. http://dx.doi.org/10.1086/aft.23.20711785.

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Fausty, Joshua. "Trinh T. Minh-ha: Essaying Ethics." Afterall: A Journal of Art, Context and Enquiry 48 (September 2019): 92–99. http://dx.doi.org/10.1086/706130.

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Penley, Constance, and Andrew Ross. "Interview with Trinh T. Minh-ha." Camera Obscura: Feminism, Culture, and Media Studies 5, no. 1-2 (1985): 86–103. http://dx.doi.org/10.1215/02705346-5-1-2_13-14-86.

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Rapaport, Herman. "Deconstruction's Other: Trinh T. Minh-Ha and Jacques Derrida." Diacritics 25, no. 2 (1995): 97. http://dx.doi.org/10.2307/465147.

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Chen, Nancy N. ""Speaking Nearby:" A Conversation with Trinh T. Minh-ha." Visual Anthropology Review 8, no. 1 (March 1992): 82–91. http://dx.doi.org/10.1525/var.1992.8.1.82.

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Lynes, Krista Geneviève. "Lovecidal: Walking with the Disappeared by Trinh T. Minh-ha." philoSOPHIA 7, no. 2 (2017): 377–81. http://dx.doi.org/10.1353/phi.2017.0031.

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Belton, John. "Review: The Digital Film Event, by Trinh T. Minh-ha." Film Quarterly 60, no. 4 (2007): 74–76. http://dx.doi.org/10.1525/fq.2007.60.4.74.

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Alexander, K. "Trinh T. Minh-ha, Woman, Native, Other: Writing, Postcoloniality and Feminism." Screen 34, no. 1 (March 1, 1993): 85–87. http://dx.doi.org/10.1093/screen/34.1.85.

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Gudmarsdottir, Sigridur. "Feminist Apophasis: Beverly J. Lanzetta and Trinh T. Minh-ha in Dialog." Feminist Theology 16, no. 2 (January 2008): 157–68. http://dx.doi.org/10.1177/0966735007085994.

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Ludlow, Jeannie. "Woman, Native, Other: Writing, Postcoloniality and Feminism by Trinh T. Minh-ha, and: When the Moon Waxes Red: Representation, Gender and Cultural Politics by Trinh T. Minh-ha." L'Esprit Créateur 32, no. 3 (1992): 101–2. http://dx.doi.org/10.1353/esp.1992.0038.

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Dissertations / Theses on the topic "Trinh T. Minh-ha"

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Tanis-Plant, Suzette. "La Voix cinématographique : échos et résonances dans les premiers films de Julie Dash et Trinh T. Minh-ha." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30035.

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Les théoriciens de la voix cinématographique, tels Michel Chion, Rick Altman, Mary Ann Doane et Kaja Silverman, évitent une réflexion sur l’expression des rapports de sexe en relation avec l’appartenance raciale ou la question postcoloniale. Au contraire, l’afro-américaine Julie Dash et la vietnamo-américaine Trinh T. Minh-ha se servent de la « caméra-stylo » afin de déconstruire le paradigme dominant de la voix selon lequel l’image serait source de la voix. Les films, Illusions et Daughters of the Dust de Dash, et Reassemblage, Naked Spaces et Surname Viet Given Name Nam de Trinh, désignent l’épistémologie comme un enjeu : les hommes blancs se servent de ce levier que constitue la fabrique de la voix pour investir le lieu du savoir. Ce faisant, ces deux cinéastes contemporaines élaborent un paradigme féministe. La voix masculine transcendante est remplacée par la voix immanente et polyphonique des femmes de couleur. Dash expose les techniques cinématographiques vocales et pratique un montage qui établit une vraisemblance avec la réalité. Nous sommes enveloppés par les voix de ses personnages. Trinh nous fait comprendre « l’architecture » du langage vocal cinématographique et opère un montage qui suspend la continuité. Elle nous incite à en découdre avec des éléments disparates. À travers certains procédés (voix synchronisée/voix désynchronisée par exemple), les femmes portent témoignage de la violence des hommes. Elles révèlent que la justice de la loi du Père est aussi illusoire que la voix cinématographique. D’objet épistémologique, la voix des femmes de couleur devient outil politique : elle détient la promesse de changer les mentalités et de fait, les lois de la cité
The theoreticians of the cinematic voice, such as Michel Chion, Mary Ann Doane and Kaja Silverman, do not address vocal representation as an issue of gender and its relationship to race and postcolonialism. To the contrary, two contemporary filmmakers, Julie Dash and Trinh T. Minh-ha, use their “caméra-stylo” to deconstruct the dominant paradigm of the voice which has spectators believe that the image is at the source of the voices they hear. The films, Illusions and Daughters of the Dust by Dash, and Reassemblage, Naked Spaces and Surname Viet Given Name Nam by Trinh, show us how the cinematic voice is a construction. The stakes are high: white men use this vocal illusion as a lever to impose control over the world of epistemology. As an alternative, Dash and Trinh propose a feminist paradigm. The transcendent masculine voice is replaced by the immanent and polyphonic voices of women of color. Dash reveals the cinematic techniques of vocal reproduction, and she practices a classical editing that reaches for fidelity. The voices of her characters envelope the spectators. Trinh brings to the screen an understanding of the “architecture” of cinematic language, and her editing techniques suspend continuity. The spectator’s own voice must continually intervene in the construction of meaning. Through various techniques (synchronized/a-synchronized voice), the women characters come forward to witness the violence of men. Their stories reveal that the justice of the Law of the Father is as much an illusion as the cinematic voice. Women of color therefore take up the voice as a political tool: it holds the promise of changing mentalities and, in turn, the laws of city
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Mennel, Barbara Caroline. "Displacement, the representation of female identity in exile : a comparative analysis of Meetings with Anna by Chantal Akerman, Borderlands, la frontera by Gloria Anzaldua and Surname Viet given name Nam by Trinh T. Minh-Ha /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244650289.

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Mennel, Barbara. "Displacement, the representation of female identity in exile: a comparative analysis of Meetings with Anna by Chantal Akerman, Borderlands, La Frontera by Gloria Anzaldua and Surname Viet Given Name Nam by Trinh T. Minh-Ha." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1244650289.

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Cook, Brittany A. "Presence, Process, Product: The Significance of the Womb in Writing Woman." University of Dayton / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1430483626.

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Li, Yujie Julia Stankiewicz Mary Ann. "In/from the art of Wenda Gu and Trinh T. Minh-ha, toward a transnational model of art education." 2008. http://www.etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-2652/index.html.

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Raginel, Joachim. "L’empathie au coeur du cinéma anthropologique de Trinh T. Minh-ha : les cas de Reassemblage et The Fourth Dimension." Thèse, 2016. http://hdl.handle.net/1866/20178.

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Germain, Myriam. "Poétique de la recherche : parcours, rencontres et décloisonnements dans le processus créateur." Thèse, 2007. http://hdl.handle.net/1866/7388.

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal
Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Books on the topic "Trinh T. Minh-ha"

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Hollweg, Brenda, and Igor Krstic, eds. World Cinema and the Essay Film. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.001.0001.

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World Cinema and the Essay Film examines the ways in which essay film practices are deployed by transnational filmmakers in specific local and national contexts, in an interconnected world. The book identifies the essay film as a political and ethical tool to reflect upon and potentially resist the multiple, often contradictory effects of globalisation. With case studies of essayistic works by John Akomfrah, Frances Calvert, José Luis Guerín, Jonas Mekas, David Perlov, Apichatpong Weerasethakul and Zhao Liang, amongst many others, and with a photo-essay by Trinh T. Minh-ha, the book expands current research on the essay film and presents transnational perspectives on what is becoming a global film practice.
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Book chapters on the topic "Trinh T. Minh-ha"

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"Trinh T. Minh-ha." In A Critical Cinema 2, 355–77. University of California Press, 1992. http://dx.doi.org/10.1525/9780520912861-017.

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"Trinh T. Minh-ha." In Screen Writings, 190–224. University of California Press, 1995. http://dx.doi.org/10.1525/9780520913110-011.

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Schultz-Figueroa, Benjamin, and Patricia Alvarez Astacio. "Trinh T. Minh-Ha (1952–)." In Independent Female Filmmakers, 228–53. Routledge, 2018. http://dx.doi.org/10.4324/9781351244312-15.

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Minh-ha, Trinh T. "Strangely Real: A Reassemblage From the Film Forgetting Vietnam." In World Cinema and the Essay Film, 226–37. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.003.0014.

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Olivieri, Domitilla. "Trinh T. Minh-ha: feminist approaches to documentary film." In Doing Gender in Media, Art and Culture, 208–21. Routledge, 2017. http://dx.doi.org/10.4324/9781315268026-16.

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Bruno, Giuliana. "Sites of Screening." In The Moving Eye, 121–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.003.0009.

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This chapter investigates the recent trend toward installation of moving images in museums and art galleries. It considers the movement of the spectator through art venues and theorizes the nature of the screen and the haptic quality of the moving image in the work of such contemporary artists as Pierre Huyghe, Chantal Akerman, Janet Cardiff, and Trinh T. Minh-ha. The chapter develops an account of how the traditional theatrical projection of motion pictures has evolved into a new form of experiencing moving images with new affective and intellectual qualities.
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Pegno, Marianna. "Engaging Refugee Audiences Through Process and Performance in Multivocal, Community-Based Programs." In Advances in Media, Entertainment, and the Arts, 1–32. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7426-3.ch001.

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This chapter explores multivocality, when working with refugees, as an approach to challenge and destabilize homogenizing narratives. Museum as Sanctuary is a long-term program at the Tucson Museum of Art that leverages community partnerships to engage refugee audiences through art-making and in-gallery activities. The author will explore how museums can foster multivocal, community-based programs by creating opportunities for participants to share their opinions, observations, and experiences in response to works of art on view and through their own artistic products. The theories of Trinh T. Minh-ha provide a lens for contextualizing the multivocality that emerges from collaborations and that honors difference, builds comfort, supports individual strengths, and welcomes change. Through a methodological blending of critical narrative inquiry and decolonizing theories, the author examines pedagogical strategies that include performance and process in order to unsettle monolithic ideas to make space for multiplicities.
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You might also be interested in the extended bibliographies on the topic 'Trinh T. Minh-ha' for particular source types:
Journal articles
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