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Nomadism in the Cinema of Trinh T. Minh-Ha

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Nomadism in the Cinema of Trinh T. Minh-Ha A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Nomadism in the Cinema of Trinh T. Minh-ha Marina Fuser This thesis is submitted for the degree of Doctor of Philosophy in Gender Studies University of Sussex September 2019 i Declaration I hereby declare that this thesis has not been previously submitted to this or any other University for a degree. Parts of Chapter 1 have previously been published as a journal article in Uncanny – Philosophy and Cultural Studies Journal, 4, 2017, Nomadic Silences in Trinh T. Minh-ha, pp. 109-136, bilangual version, ISBN-13:978-1541015753 / ISBN-10:1541015754 Lexington: Croft-Mazell Publishers. __________________________________ Marina Fuser ii Dedication This PhD thesis is dedicated to my grandmother Lídia Costin, who bravely survived the Holo- caust, played a significant role in my life and recently passed away. iii Acknowledgements First and foremost, I thank my supervisors Rosalind Galt and Lizzie Thynne for all the support, which includes more than just a professional supervision. They put their hearts into this, which encouraged me to follow through with this thesis. I thank the School of Media, Film & Music and the University of Sussex for providing me with a suppor- tive study environment. I thank CAPES – Coordination for the improvement of Higher Edu- cation Personnel, Ministry of Education of Brazil – for honoring me with a scholarship that lasted three years of my PhD studies. I also thank Trinh T. Minh-ha, the department of Gender and Women Studies, and the University of California Berkeley for having me research there for a full academic year. I am deeply grateful and indebted for all the professors that played a part in my academic experience in classes, courses, graduate seminars, academic events, and helped me in one way or another, such as Richard Dyer, Laura Mulvey, RosiBraidotti, Mi- nooMoallem, Cheryl Dunye, Linda Williams, John MacKay, Caren Kaplan, Maria Lugones, Manuela Boatca, Karla Bessa, Janaina Oliveira, Paola Bacchetta, Almir Almas, Paulo Alex- andre e Castro, Patricia R. Zimmerman, David Rodowick, Lucia Nagib, Margareth Rago, Car- la Cristina Garcia, Jose Luiz Goldfarb, Donna Haraway, Gayatri C. Spivak, Nelson Maldona- do-Torres, Adrian Goycoolea, Margaretta Jolly, Kate Lacey, Sally Munt, Dolores Tierney, Alex Shankland, Andrea Cornwall, Catherine Grant, Sue Thornham, Tierney Dimmock, and possibly more people. I also thank some of my fellow PhD candidates and colleagues around campus who have helped me in this process: Behnoosh Be Hi, Leonor Cutileiro Cerqueira Correia, Kagu Abubakar, Olga Saavedra, Carolina Oliveira, Umar Jahun, Sahar Hejazi, Amri- ta Saha, Amy Dean, Alvaro iv Lakabe, Helen Dixon, etc. I thank my English revisors Mariana Naci- fand Carolina Oliveira for helping me with last minute correctiions. I also thank my mother Claudia Costin and my father Igor Fuser for being so supportive towards my academic pathway. I thank my brother Mauricio Costin for helping me in the moments of technological despair. I thank all my family, specially my grandfather Maurice Costin who passed away briefly after I got accepted in this program, and my grandmother Lidia Costin, who passed away towards the end of this thesis. They both contributed a lot to my education. I thank my girlfriend Giuliana Gasparroni Gallardi, who is patient and supportive about my research. I also thank my good friends who have been so affectionate and understanding of my absence in times of hard work, such as Márcia Leal, Martha Lemos de Moraes, Inae Sampaio, Linda Rodrigues, Josefa Pereira, Juliana Hereda, Ito Keisuki, Viviane Cantarelli, Fernanda Sarkiss, Marcos Carrijo, Helena Corvini, Tiago Udry, Adriana Toledo Soares, Bianca Koch, Marina Tambelli, Maria Chrisa, Caru Alves de Souza, Paula Natalino, Camila Sant‘Anna Ribeiro, Mayra Castro, Ana Gebrim, Josie Berezin, Nina Wootton, etc. I also want to thank Cássio Monteiro, from ColorArt for being so helpful with the finalisation of this project. v Abstract The concept of nomadism - which stems from Gilles Deleuze and Félix Guattari and evolves into feminist and postcolonial critiques - provides an analytical framework to address the undetermined, multifaceted portrayal of tribal and diasporic women in the cinema of Trinh T. Minh-ha.The thesis explores subject positions in selected films by Trinh through the work of Braidotti (2011) and the ―mestiza consciousness‖ proposed by An- zaldúa (1987), that provide an embedded and embodied philosophical basis for a nomadic film aesthetics and frame of analysis.The border is discussed as a site of encounter across cul- tures and social demarcations of alterity. The second chapter explores the nomadic film strat- egies that destabilise the time-space configuration of the film narratives in The Fourth Dimen- sion (2001) and Night Passage (2004).Chapter 3 analyses Trinh‘s tactics that create a politics of ―speaking nearby‖ in Reassemblage (1982) and Naked Spaces - Living is Round (1985), and to what extent a nomadic approach can suspend utterance about Third World women.The last chapter looks at borders between Self and Other, the West and the rest, and how these lines are defied, blurred, or displaced in Tale of Love (1995). The history of ―Third Cinema‖ (Solanas and Gettino 1969) is examined as a prelude to a postcolonial position on a cinema of exile. The notion of ―third space‖ in Homi Bhabha's critique of Third Cinema, ―haptic visuali- ties‖ in Laura Marks and the ―crossroads‖ in Gloria Anzaldúa are evoked to examine ―spaces in-between‖, where the border is deterritorialized. vi Key-words Nomadism, Nomadic Cinema, Feminist Cinema, Poscolonialism, Trinh T. Minh-ha vii Table of Contents Declaration………………………………………………………………………………. i Dedication……………………………………………………………………………….. ii Acknowledgements……………………………………………………………………… iii Abstract………………………………………………………………………………….. v Key-Words………………………………………………………………………………. vii Introduction...................................................................................................................... 1 Chapter 1: Nomadism: A Feminist and Postcolonial Perspective………………… 11 1.1The Concept of Nomadism………………………………………………………….. 16 1.2 A Nomadic Subject Position………………………………………………………… 29 1.3 Representing Women from Elsewhere……………………………………………… 37 1.4 The Nomad and Alterity in Trinh T. Minh-ha‘s Theory…………………………….. 50 1.5 Conclusions………………………………………………………………………….. 58 Chapter 2: Nomadism and A Critical Use of Time and Space……………………… 60 2.1 Lost in the Dark……………………………………………………………………... 60 2.2 The Heterotopic Path………………………………………………………………... 66 2.3 The Filmic Tracks of a Nomad: Heterotopias as Sites of Imaginary Voyages in- Night Pasage…………………………………………………………………………………….. 73 2.4 Heterotopias of Time: ―Time Traveling‖ in The Fourth Dimension………………….. 87 2.5 Relay Points and Introspective Spaces in TheFourth Dimension…………………… 95 2.6 Conclusions.................................................................................................................. 100 Chapter 3: For a Nomadic Ethnography that Speaks Nearby……………………. 104 3.1 The Aesthetics and Politics of Speaking Nearby……………………………………. 107 3.2 Strategies of Speaking Nearby………………………………………………………. 121 3.2.1 Looking nearby: Reflections on the Ethnographic Gaze………………………….. 122 3.2.2 The Poetics of Bodies in Space, and Space as Bodies……………………………. 132 viii 3.2.3 Reinscribing ―the Power of the False‖ in Ethnography…………………………… 136 3.3 Conclusions………………………………………………………………………….. 140 Chapter 4: Crossing Borders of Alterity, Unravelling Veils………………………… 142 4.1 Crossing Borders of (Neo)Colonialism: Spaces of Encounters……………………... 148 4.2 From Exile to Loving Intransitively………………………………………………… 171 4.3 Conclusions………………………………………………………………………….. 195 Conclusions: The Gender Pivot………………………………………………………. 198 Bibliography…………...……………………………….…………………………. 202 1 Introduction This thesis explores how post-structuralist, postcolonial and feminist theorizations of nomadism may be used to explore the cinema of Trinh T. Minh-ha as she constructs her critical approaches to non-Western women in her films. Nomadism has been used as a category in film theory, mainly concerning specific film genres, such as Laura Marks‘ reading of films of the desert. Marks specifically focuses on the representation of no- mads based in the Arabian desert and the Rub al-Khali in the South of the Arabian peninsula, the deserts in Nubia, Lybia and Syria, the Sahara, which she later calls ―asphalt films of the desert‖understood as ―asphalt nomadism. (Marks 2015, p. 148). Dudley Andrew‘s emphasis on nomadism in cinema (Andrew 2000, p. 215) tackles a broader cinema filmed in non- Western settings, mostly in West Africa, and produced by both African and Western film- makers. These films, argues Andrews, somehow create a new film aesthetics that undergoes processes ofdeterritorialisation, producing ruptures in the representation of alterity, a concep- tualization which can help introduce the idea
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