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Implications of a Feminist Narratology: Temporality, Focalization and Voice in the Films of Julie Dash, Mona Smith and Trinh T

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Wayne State University Wayne State University Dissertations 11-4-1996 Implications of a Feminist Narratology: Temporality, Focalization and Voice in the Films of Julie Dash, Mona Smith and Trinh T. Minh-ha Jennifer Alyce Machiorlatti Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Critical and Cultural Studies Commons, and the Film and Media Studies Commons Recommended Citation Machiorlatti, Jennifer Alyce, "Implications of a Feminist Narratology: Temporality, Focalization and Voice in the Films of Julie Dash, Mona Smith and Trinh T. Minh-ha" (1996). Wayne State University Dissertations. 1674. http://digitalcommons.wayne.edu/oa_dissertations/1674 This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. IMPLICATIONS OF A FEMINIST NARRATOLOGY: TEMPORALITY, FOCALIZATION AND VOICE IN THE FILMS OF JULIE DASH, MONA SMITH AND TRINH T. MINH-HA Volume I by JENNIFER ALYCE MACHIORLATTI DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 1996 MAJOR: COMMUNICATION (Radio/Television/Film) Approved by- © COPYRIGHT BY JENNIFER ALYCE MACHIORLATTI 1996 All Rights Reserved her supportive feminist perspective as well as information from the speech communication and rhetorical criticism area of inquiry. Robert Steele approached this text from a filmmaker's point of view. I also thank Matthew Seegar for guidance in the graduate program at Wayne State University and to Mark McPhail whose limited presence in my life allowed me consider the possibilities of thinking in new ways, practicing academic activism and explore endless creative endeavors. Special thanks to Ken Deman who provided translation of "Gender and Narratology: Categories and Perspectives of Feministic Narrative." Dr. Michelle Golden contributed careful editing and reading of the work. Special thanks to Mary Al, James and Rudy Balber-Herman who provided their home in Minneapolis and shared the 0jibway way with me while interviewing Mona Smith, Nick Van Hoogstraten for the NYC futon, James and Lynn Denney, the Wise Woman Wisdom group for offering discussion on personal aesthetics, Clifford for sharing the feminist perspective from a man's POV, and the PM Club gang. I thank Mona Smith for being so generous with personal information and philosophy, as well as proof reading chapter five. Thanks for calling it like it was. Julie Dash took time to read an initial draft of chapter four and offered corrections and comments. I also thank Mona for introducing me to Bennie Matias at the Center for Arts Criticism, 111 Minneapolis, MN, who engaged me in challenging discussion on women filmmakers and aesthetics. Also thanks to the Changing Woman Sisterhood Circle for holding space for growth and healing in the feminine traditions. A special nod to Lisa Barley, my dissertation support partner on e-mail and in spirit. Your encouragement and thoughtfulness really facilitated this vision. Also thanks to Le Claire Taylor for your planetary interpretations and encouragement. The support of my family was crucial in completing this work. Thank you Dad Joe, Mom Joan, and Brother-in-law David for their space of being proud of me. Special thanks to my sister Julie, who really understood the project at hand, and who bugged me endlessly to get the work done. I also acknowledge the two souls who came into this world while I was writing — Audrey Rose and Weston David — for your distraction and teachings on presence and fun. And to Bubba and C.K. Dexter Haven for their company. iv TABLE OF CONTENTS VOLUME I ACKNOWLEDGEMENTS............................................ ii INTRODUCTION..................................................1 Statement of Purpose and Significance..................l Methodology............................................. 2 ^ Challenges of Theoretical Inquiry...................... 3 Organization of Chapters/Filmmakers.................... 8 Notes..................................................2 0 CHAPTER 1: NARRATIVE AND GENDER IN CINEMA STUDIES......... 21 The Gender Question in Film Studies...................21 Using Gender Difference in Narrative as.............27 Radical Intervention Significance of Feminist Narrative Inquiry.......... 39 Notes..................................................4 3 CHAPTER 2: REVIEW OF LITERATURE AND HISTORICAL............ 44 DEVELOPMENTS IN FEMINIST FILM CRITICISM AND THEORY Walking on the Path of My Sister,.................... 44 But in My Own Shoes Feminist Film and the Critical Voice:................ 62 Seeing the Margins as Places of Power Feminist Criticism and Aesthetics:................... 7 6 Searching For and Speaking in One's Own Voice Feminist, Feminism, Feminine, Female, Woman,......... 88 Womanist: What Are We To Name Ourselves and Creative Expression? Notes................................................. 113 v CHAPTER 3: CINEMATIC NARRATOLOGY AND CONSIDERATION OF A FEMINISTIC PERSPECTIVE............................... 117 The (Her) Story with no Beginning and No End:...... 117 Meaning in Women's Narrative Woman as Social Subject: The Significance...........122 of a Feminist-Narrative Critical Methodology The Master's Language: Narrative as Male............13 4 Construction and Pleasure Considering the Master's Tools: Narratology......... 148 Up to Now and Glimpses of a Feminist Perspective The Implied Author: Conceptual/Collaborative........ 176 Narration and Visualizing the Female Social and Personal Self Notes.................................................180 CHAPTER 4: FEMINIST NARRATOLOGY EXAMINED IN THE......... 183 FILMS OF JULIE DASH Julie Dash and the Aesthetics of a Postmodern...... 183 Griot in Daughters of the Dust Biographical Notes on Julie Dash: Black Female..... 187 Memory as Element of Change Film Notes: Daughters of the Dust................... 193 Film Notes: Illusions................................198 Film Notes: Four Women and Praise House.............200 The Feminist Aesthetic, Narrative Voice............. 2 02 and Focalization in Daughters of the Dust The Gullah Language and Historical Voice(s)........ 215 The Politics of Cinematic Narration:................ 240 Speaking and Reading Between the Frames vi Temporality in Daughters of the Dust: African,..... 248 Ancestral and "Limbo" Time Notes...... •.......................................... 263 VOLUME II CHAPTER 5: DAKOTA MEANS ALLY: THE VIDEO.................. 2 66 EXPRESSIONS OF MONA SMITH Native American Video Aesthetics:................... 266 Finding Voices and Walking the Red Road Biographical Notes on Mona Smith:................... 277 Leadership Through the Video Voice Video Notes: That Which is Between......... 282 Video Notes: Her Giveaway: A Spiritual Journey..... 284 with AIDS Video Notes: Honored by The Moon.................... 285 The Documentary Impulse in Native American......... 286 Cinema Narratology and the Hybrid Film/Video Form......... 289 Focalization and Voice in That Which is Between..... 294 Focalization and Voice in Honored by The Moon....... 307 and Her Giveaway: A Spiritual Journey with AIDS Conceptual/Collaboration Narration: Mona Smith....... 309 as Native Leader Implications of a Feminist Narratology in the...... 311 Work of Mona Smith "Indian Time" in Narratological Perspective........ 313 Notes................................................. 315 CHAPTER 6: WITNESSING THE MISFITS OF HISTORY:........... 318 IDENTITY, LANGUAGE AND THE PROCESS OF TRANSLATION IN THE Vll HYBRID-BOUNDARY CINEMA OF TRINH T. MINH-HA There is no Such Thing as Documentary: The..........318 Truth of No One Truth Biographical Notes on Trinh Minh-ha:................ 33 0 Insider/Outsider and Insight Cinema Film Notes: Reassemblage............................ 335 Film Notes: Surname Viet Given Name Nam............. 337 The Conceptual/Collaborative Narrator's Voice...... 348 as Focalizer in Reassemblage Reflexive Cinematic Narration in.................... 358 Hybrid-Boundary Cinema Voice and Translation in Surname Viet...............363 Given Name Nam Conceptual/Collaborative Narrative Voice:.......... 373 The Documentarian and Her Subjects Construct Reality The Narrative Construction of Truth Telling:....... 377 The Documentary Interview A Narratology of Boundaries: Conclusions on........ 3 85 the Feminist Cinema of Trinh Minh-ha Notes................................................ 388 CHAPTER 7: SYNTHESIS OF FEMINIST NARRATOLOGY: OPEN...... 389 ENDINGS AND EXTENSION IN THEORY Temporality and Feminist Narrative.................. 394 Focalization and The Feminist Aesthetic.............398 Experience The Voice of Feminist Aesthetics: Women.............4 02 Recount Their Histories The Conceptual/Collaborative Narrator:..............407 viii Feminists Making Feminist Films Conclusions and Avenues for Future Studies in....... 408 Narrative and Gender Notes..................................................411 APPENDIX: FILMOGRAPHIES....................................412 REFERENCES..................................................415 ABSTRACT....................................................435 AUTOBIOGRAPHICAL STATEMENT................................ 437 IX INTRODUCTION Statement of Purpose and Significance Post structuralist cricitism questions the universality of language structures.
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