art 315 Issues in Contemporary Art

Okay. Okay. What about the same number that we were going to tell me? How big is post-colonialism. What I've been doing is looking at sort of kind of big ideas in art. Sort of following the 93 Whitney and postmodernism. So post, postmodernism, if you want to think of it that way. Nearly. What is it? What is it exactly? But did you ever consider I'm going to put my chat up. If anyone wants to jump in on this. If post-modernism is from testing purposes, a reaction to modernism. What happens if you as a society we're not Modernist to begin with. Or you didn't subscribe to modernism. As many of you pointed out in your papers. Modernism came out of advancements in technology, right? Industrial Revolution. The idea that technology and modernization was going to move society forward. But we're talking about things that were happening in Western cultures, right? Primarily Europe. And we can ask ourselves if this idea of modernism ever really took colder or had any kind of importance to other parts of the world, right? My question, the question is, can you be post-modern? If you weren't? Modern to begin with, right? And so that's kind of what we're going to be talking about today. Okay, so post-colonialism is exactly what it sounds like. It is what happens after colonialism. And I think you're probably familiar with colonialism. But I'm going to go over it with you. Okay? So colonialism is that aspect of history of various countries who went to other countries, other places and essentially claimed them, right? They took them over. And so that the practice is what we call imperialism. Practice, theory and attitudes of dominating, dominating metropolitan center, really a distant territory, right? So we have, you know, Spain and South America, France, UK, and the Netherlands. In Southeast Asia. You have France, Portugal, Great Britain again in Africa, right? So you have a number of continents where European metropolitan centers ruled. Okay? So that aspect of sort of taking over another space, another country, another land, both in practice and in theory is imperialism. And then colonialism is sort of the more physical aspect of establishing colleagues, right? So, okay, I'm back, sorry. Okay. So colonialism is this aspect of it. Spanish moving into South America, moving into the Philippines, the Caribbean, and establishing colonies there. And it's important, whoops. It's important to note that a lot of imperialism, I hate, I hesitate to say all of it, but I want to say all of it is really influenced by racism. Okay? I have to put it bluntly. And that racism was informed by science. Okay. I think I'm good. Let me jump ahead and then I'll come back to this one. So joules our mind. This is a quote from him. He was a high-ranking officer in the British Navy. And he articulates this very explicitly. And I, I think we should not underplay the motivation of imperialism. It is necessary then to accept as a principal and point of departure the fact that these are my emphasis by the way, the red is mine. There is a hierarchy of races and civilizations and that we belong to the superior race and civilization. Still recognizing that while superiority confers rights, it imposes strict obligations and return. The basic legitimization of conquest of native peoples is the conviction of our superiority. Okay? So recall that a major aspect of enlightenment thinking is the belief and reliance on sites, right? And what these imperial powers are doing is essentially using science as a rationale for claiming their own superiority. And you can see in the first red that I've highlighted for you, they very much believe that there is a hierarchy of races and civilization. Okay, and so this goes back centuries and centuries. The Philippines was under Spain for 400 years, right? So that was starting in the 17th century. And again, using the Philippines as an example. Even in the United States. All sheet, I'm going to forget the president's name. We have the president of United States calling the Filipinos his little brown brothers. And that's this aspect. Obligation that because we're a superior race, it is our obligation to sort of civilized, civilized, civilized, yes. Civilize these people, right? If you ever watched the musical, the Kenyan eyes, if there's a funny number, I don't know what is called the, but the, the women, the king's wives, are having to dress up for a ball in Western clothing. And they are complaining that they're being, it was, it's a great, it's a great phrasing. I just can't remember exactly, but something to the effect of there. They want to civilize us by making us barbarians or something like that. It is, it is This point of, of imperialism that is racist. So just some examples of this expression behind the expression of the racism behind imperialism. I think you're probably all familiar with Rudyard Kipling, English poet. He wrote The Jungle Book. That, That's what I'm thinking. But then he has this poem called The White Man's Burden. And it's long, but this is a segment of it and it makes the point that I'm sharing with you, take up the White Man's Burden, send forth the best you breed, go bind your sons to exile, to serve your captives, need to wait in heavy harness on fluttered folk and wild your new caught sullen peoples. Half devil and half child. So you can see he's expressing that sense of obligation, right? This is like, you know, we're superior. We're going there and we're going to better, better these, these captive natives who are half devil, half child. So they're not, they're not human, right? Is what is what he's saying. And just to Conrad's Heart of Darkness is even much more explicit about that. We were wonders on a prehistoric art. Again, this idea that other, other cultures, non-Western cultures, brown people as prehistoric, right? There's not, not modern. So these are cultures not embracing modernism in the way that the West was. So kinda continues where we were wanders. I'm a prehistoric earth. As we struggled around the band, there will be a glimpse. Rush walls of peak grass roofs, a burst of Yale's, a whirl, a black limbs, a mass of hands clapping, a feed stomping, body swaying of eyes rolling. It was an earthly. And the men were, no, they were not inhuman. Think that's to say they were not humans. They held and leap and spine and made hoard faces. What thrilled you was just the thought of their humanity like yours, the thought of your remote kinship with this wild and passionate uproar, ugly. Okay, So that is, that is the underlying sentiment of imperialism and colonialism. But my point and establishing this for you is that when we talk about post-colonialism on it, there is an awful lot to unpack there. Because colonialism certainly was the foundation of slavery, right? And so when we are talking about Black Lives Matter and contemporary race issues, we are going all the way back to these colonial, colonial times and colonial attitudes. So some examples for you in art. What, what western artists, European artists in particular were doing was using images. And I'm going to show you images of African people, of Africans as this kind of exotic being. And so the images that they chose to paint, if they chose to, to share back in, back in your y's of kind of the most exotic, like the most, the most the opposite of what one might expect from European, European culture. So this is where we get this idea of kind of otherness, right? And this idea, or this kind of what Edward say, the historian called Orientalism, which is a really important book and idea and post-colonial discussion. This idea of Orientalism is very much about this exotic other B, that's very opposite of. Western civilization as the Europeans knew it. But this is, I'm going to show you some images that matches the artist. Pair my keys painted in Morocco. And they very much fell into this category of kind of Orientalist exotic imagery. And the point here is that is what is being said here by the, by the writer lo te. French novelist decried the modernization of those cultures by European colonialism, considering that it destroyed their authentic, quote unquote, character and defense. Okay, so there's this idea that on the one hand, the colonial powers, the imperialist needed to better, needed to better the kind of the natives that they were colonizing. And at the same time, there's this idea that There's an authenticity to that native culture that people, many of them in the arts did not want to see compromised. Right? So it's a weird, It's a weird coin with these bizarre two sides, right? But you can see how they're both the same. They both have the same foundation. This idea of the otherness of these people. So this was actually an exhibition that was at the Philadelphia Museum of Art. I'm not sure where it originated, but it did come. This is many, many years ago, probably before some of you were born. Anyway, is called Matisse in Morocco. And colonizing aesthetic. I'm not sure if the subtitle was for the exhibition or just the writing on the exhibition. Anyway. So my TCE spend quite a bit of time in Morocco, which had been settled by the French, right? Matisse's French. And the images that he chose to portray file this idea of sort of the authenticity of Moroccan, Moroccan life. And here, this is how he described this painting. This is how he described it to his daughter. A portrait of a refund, a magnificent mountain near type savage as a jackal. They like, they like this idea of wildness. And that there's something wild about, about these natives. And so he Matisse. He was God just going around Morocco painting. But yeah, so this also sort of exemplifies what the colonial presence was about. So much cheese would go and he would make these paintings of what he thought he should, he should share about morocco. When in fact, just by going out in public and painting, he was violating sort of cultural codes. So that the very last part there, as he transcribes out in public, the forall arches of the saints to write. So they were I mean, he was actually, I'm going to go to Jack's question here. I mean, he, this is the irony of it. I think he was admiring this culture. He was admiring the people he was admiring, I think the aesthetics and everything about it. But the point is that he was admiring it in relation to his culture and his, and his background. And this is, we're going to get into this more. But this is the sort of the very point of post-colonialism. And the question that I'm posing for today, which is who speaks for whom? Right when we're talking about representation. Matisse was going into Morocco and he was representing the people and the culture through his own lens, right? Which I think in and of itself. How can we, any of us do otherwise? The point being that for one, he was doing so I love this phrase here, the sovereign self-assurance. He was doing so actually from a position of privilege, right? So it wasn't this kind of anthropological and sociological, don't interfere with the culture kind of deal. Was, you know, I want to paint, I'm going to paint, right? So it was not at all x exploitative, but it was ignorant, for lack of a better word, because he was going about this in a way that he wanted without thinking about. The culture itself and how, and how he was depicting it. Okay, so that's, that's sort of the basis there, the basics of this idea of post-colonialism. And literally, right, It's after colonialism deals with the effects of colonization on cultures and societies. The term has been used by literary critics to discuss various cultural effects of colonization. So this idea of post-colonialism, depending on the field that you're in or who your reading, can be very specific or it can be very bright. From my perspective. As an artist, I think of it very broadly. The idea of post-colonialism, I think not, not really different from the idea of postmodernism lends itself to a kind of chronology, right? By postmodernism comes after modernism, post-colonialism comes after colonialism. But I would say that once we get to this concept of post-colonialism, it is not for me, literally or technically after colonialism. Because I would find it very hard to say that although colonialism, as it existed, say in the 19th and 20th centuries, is not necessarily the same. That it still exist. I would say that this is a whole other conversation. But the capitalist economy that we live with right now is an expression of colonialism. What we see happening to communities of color today is an expression of colonialism. Not just this kind of base, racism, but just the idea of a hierarchy, right? And recall that that's very much part of modernism. That there is in modernism. The kind of the haves and have-nots or those with the knowledge and those who don't have the knowledge. And the system is very much structured to perpetuate, perpetuate that. So that's where postcolonial, in fact gets three by political. Yeah, Even today. And it was very interesting. This is just an aside, but I was going to join a grant project. Which I ended up not doing. And then I found out afterwards. And this wasn't why I didn't do it. But I find out afterward that my component, which would have been on post-colonialism may have eliminated from consideration. And the grant. Apparently it was, it was a government organization. I can't remember what it was. It wasn't it wasn't art specifically. But anyway, the the the funders, whoever was doing the grant, the granting, decided they were not going to find anything that address post-colonialism, right? So I mean, that's how political I got it at, at 1. I'm going to talk more about that and contemporary, contemporary terms. But yeah, so I mean, you can see that like I said, there's, there's a lot to unpack with these concepts. And so this also I think, is a key, a key idea behind all of this. Some of you may know Bell Hooks. She does spell her name all lowercase like that. African American. I guess her background is literary theory. I'm not actually sure. But she writes about race sort of across the board. Race, gender, feminism. Anyway, this is a very important idea that she shares with us. It is sadly ironic that the contemporary discourse, which talks the most about heterogeneity, the de-centered subject. Declaring breakthroughs that allow recognition of otherness still directs its critical voice primarily to a specialized audience that shares a common language rooted in the very master narratives it claims challenge. Okay. What does that mean? That means that that 990 three with me with all its so-called identity politics and all the work that was trying to include itself in this canon of art. Basically, all of that is working within the system. Okay, That's what bell hooks is saying. She's she's like, how can we, oh shoot somebody. Somebody tell me whose, whose quote, This is perfect. You cannot dismantle the master's house with the master's tools. So one of you feminist scholars out there, somebody tell me who was it? Audre Lorde. All right. I'm sorry, I cannot not look this up because it's too important. Dismantle submit going to beat me too big for me. All right. Okay, that's basically what they say. You cannot dismantle the master's house with the master's tools. We need to find another way. That's kind of like defund the police, right? Which is not to say we're actually taking money away from the police. It's to say we are looking at how to reorganize the system so that the responsibility is shared and the police don't have to shoulder all of these responsibilities that they do currently. And that makes their job very difficult. Again, see, it gets me really political and I'm trying not to do that, but I can't help it. Okay. So how do we do that? Right. How do we not use the master's tools when that's all we've been taught, right? The only thing we know is the masters students. How, who's going to teach us? He's going to teachers other tools. Where, where are these other tools going to come from? That's, that's the question to think about. This is part of a series of work by the artist Martha Rosler. You can see this is from the mid-seventies. And the title of the series is the battery into inadequate descriptive systems. Martha Rosler lived in the Bowery. She became very active with fighting gentrification in the neighborhood because she recognized as many artists did, that. Artists moving into a neighborhood quickly invited gentrification of that neighborhood, right? Artists who have no money look for the cheapest places to live. They move in there, they make, we're, suddenly it becomes a really good place. Developers are like, well, let's, let's build condos. And all of a sudden, people who are living there can no longer afford to live there, right? What Martha Rosler was doing in this particular work was trying not to speak for people who lived in the Bowery. Okay. So she felt that by photographing the individuals, like showing their faces. Like by her exhibiting or her showing the work that shows their faces. But she would somehow end up speaking for them. And by that, I understand it to mean that when we see a person who looks a particular way, we have our assumptions of who that person is and what that person may be about. Martha Rosler did not want to do that. Right? And what she did instead was she photographed kind of places. And you could see this is like kind of a close-up of a place. And then she gave us words that we might use to think about that place. It's not unlike what we saw earlier with the work of Lorna Simpson. And carry me means now where they showed us now black individuals and then gave us words. Implicate our own thinking about how we how we understood those words relative to the images. Oh, she's trying to do the opposite by not showing you the person. And then offering these words. She's kind of saying these words apply to this, right? To what you see, not to the person. Does that makes sense? Because she doesn't want to speak for the person. She's not saying that the problems don't exist. Right? She's not trying to hide that. She's just saying she's not going to represent the person in this particular way. And here's more of that particular series. Okay? So this may be where she would see an individual. And instead of taking an individual's picture, she photographed the setting and then she offers us words. Now, it's kind of easy to think of colonialism in terms of kind of global imperialism, right? France, England, all of that. But really one of the most glaring examples of colonialism that we, that we live with today is that of the Native Americans. And as we saw with some of the artists that we looked at from the eighties and nineties, we, Whitney, there's a real concern. Language, and that's the way they are, they are represented. And so we have American Indian artists who are using language almost more than other conventions to define who they are and what they're about. This is actually from an article I didn't give it to. You. Can remember the tunnel, but it has to do with photography and indigenous peoples. And this is a key idea that I'm pointing to here, which is that it's not like Native Americans had a problem with photography per se, right? Or are having their picture taken, right? That old stereotype of the camera's going to steal your soul or whatever. It's, none of that. It's much more practical and pragmatic. It was that this last answer, publicly, many feel they have to adopt a political position against photography to be careful of what they say or what others will say about them. Meaning, when an image, I'm going to jump ahead. When an image like this is published for public consumption. We can ask ourselves what, what is being told? Like, what is the story, what is the information that is being shared? And that, that recent reading that I gave you an international or national Geographic is awesome for that. It's an awesome, awesome little piece for thinking about these issues. So I mean, basically get, sorry, I keep flipping back. But this idea of the relationship of this, then this example, Hopis to photography, has to do with this idea of representation. Like how are they being represented? And in that representation, how much is being left to the viewer to decide about the subject as opposed to the subject being able to provide a kind of necessary information to the viewer. Manifest destiny. Those of you study American history. Well, remember this concept, we're actually doctrine. It was literally kind of mandate. That part. Why did somebody say something? Anyway, this idea that Americans, the colonists, had a right. To move westward, right? The concept was invoked, this justification for the Spanish-American War. The US had the duty and the right to expand historic galleries and influence throughout North America. I mean, that's basically, it's this idea of civilizing the brown people. And I think I mentioned to you before the schools that American Indian children were placed and that basically kind of taught them to be like white kids. Taught them that culture. Okay, So there's this concern for imagery. I just like this image. I can't even remember where this came from. Yeah. So this is, this is that idea that regardless of what the image shows, the viewer has already received a certain level information about the subject. And then bring those ideas to the image, which is why the representation is so problematic, right? Also this idea that photography tells the truth somehow. And again, we'll see that with National Geographic issue. These are images, obviously American Indian people. And I mean, I think one of the things that you can ask yourselves as you see these kinds of images is sort of what, what comes to mind. And that is, the image of the Indian in American culture is such that the, the American Judaism cells did not want to be represented. So as to kind of further, further these ideas, this idea of truth. And then of course there's just the stereotypes that I portray. And so you can sort of relate these kinds of images to the texts that we looked at. Some Kipling and from Conrad, right? And you might recall. Also that the piece by Jimmie Durham, which show vocabulary and how certain vocabulary will be applied to Indians. And another vocabulary was applied to mainstream white society itself. When we say representation matters or when people say representation matters, I think we need to be consistent and understanding what matters about the representation. I mean, would we rather not see representation of American Indians or have this representation, right? That's sort of where does part of the question anyway. So, okay, this is the National Geographic piece that I've referred to, which I just think is kind of amazing. So this was in April I believe, April of 2018. Now you can see the citation down there. The entire issue was about race. And the editors of National Geographic decided that they could not have an issue about race without examining their own culpability in perpetuating racist ideas. Okay, and when you hear about mainstream culture or white culture, working hard to sort of undo, undo this racist history. This, this would, to my mind is an example of that. It's very hard to, I think, acknowledge racism. In any case this is, I find this fascinating. So this is just a little quote from that. Until 19 seventies nasa geographic all but ignored people of color who live in the United States, rarely acknowledging, acknowledging them beyond laborers or domestic workers. Meanwhile, the magazine picture natives quote unquote elsewhere as exotic, famously and frequently unclothed, happy Hunters, noble savages, every type of project, right? And so that's going all the way back to Matisse. If you're familiar with Gauguin's painting from Tahiti. All of that. Let me even Van Gogh's interest in Japanese prints. The Europeans who traveled to other countries were really enthralled by other cultures. And again, it was not exploiting. It was not malicious. It was just, I think ignorant. They were approaching other cultures from this position of privilege and not recognizing how that privilege was affecting their perspectives, right? So anyway, this is what essentially National Geographic did. Nasa geographic looked at its work. And it said, You know, we are totally guilty of presenting Africa, this vast, diverse continent in a particular way. Think yeah, they were talking about I can't remember what the incident was now. Something in South Africa. They did a story on South Africa. And you can see this quote, there are no voices of black South Africans. That absence is as important as what is in there. The only black people, the only black people in the article, they actually like doing exotic dancers. They're servants or workers. It's bizarre actually consider what the editors writers have photographers had to consciously not see it. Okay? And when they say they consciously did not see these things, I don't think it was, again, malicious, Right? It wasn't this idea of all these black Africans there. They're inferior to us, their animals, blah, blah, blah. It wasn't that, it was just simply an inability to see the bigger picture. That sounds oversimplified. But I mean, that's, that's part of the problem, right? Overall. With this kind of racism is that it just becomes a natural part of how you see the world. Therefore, you can't really be critical of it. And that's what National Geographic did, was it turned its lands on itself as a way to be critical of it's own practice. I would be interesting if somebody do a study of how how the magazine may have changed since this issue? I haven't seen anything like that, but it would be curious. See, James Clifford is an anthropologist and he actually wrote on, you can see this is a quote from an essay notes on traveling theory. He had this travel theory basically. And it's this idea. Well, I'll just read it. Location here is not a matter of finding a stable home or of discovering a common experience. Rather, it is a matter of being aware of the difference that makes a difference. In concrete situations. Recognizing the various inscriptions places our histories that both empower and inhibit the construction of theoretical categories like women, patriarchy, or colonization. Categories essential to political action, as well as serious comparative knowledge. What he's saying, I think kind of in a nutshell, is that the idea of place. When we think of when we think of a place, we have to somehow be able to be open to how the people of that place see it and not how we see it through our length. Which is not to say that we shouldn't see if violence, I mean, we do, right, We can't help but do that. The real issue is, can we also expand how we see this place, right? I think we're going to look at a film that I think really illustrates these ideas very well. So just to show you, I'm going to call these post-colonial responses. In a way. These are, obviously, these aren't native artists, I think actually may have seen some of this already. These are, these are native artists and they are addressing the issue of place, their place, right? This is a billboard. Actually, I'm not sure that the piece itself, it's based on a billboard that talks about Obama and totally disregards any aspect of native presence. And so this piece, I'm sorry, I can't remember the artist's name. I'm not sure if it's Zake. I don't think it's sick. When I might have notes on this. So this is a kind of obviously scrapbook piece. This is the artist here in the center, the, the main, the main image. It's a very long name. Her last name is sin t. Like I said, it's on I will put these names in the notes for you. When I, when I post the lecture recording, there's a, I think Zig we looked at before. Again, kind kind of re presenting place as a way of acknowledging the Native American claim to the land. Right, which is widely, widely overlooked. I came across an article recently, if I can find it, I'll share with you. I just think it was really interesting. It has to do with the practice that I didn't know about. And I actually experienced this past weekend at a symposium. It was, the article was talking about. I forget how they phrased it. But they were analogize a, this practice to the presentation of pronouns. Pronouns have become right. Giving one's pronoun is fairly convention at this point. But also, academics have been doing this other thing which I did not know about, which is that they, in presenting at conferences or other kinds of toxic things. They acknowledge the land that they are on. So they'll say, I want to acknowledge that I'm speaking to you from so and so land owned by so and so tribe or whatever. Pretty fascinating. But the article itself really called out that practice and said it was like a double violation. Yeah. I mean, it was it was kind of like a double violation of the, of the natives because first of all, the land has been taken away from that. And now you just want to acknowledge that they used to be there. So it is not anymore, right? I mean, it obviously the article is much more articulate than that, but I thought it was a very interesting practice and I had not, like I said. Weekend. I had not seen it in action. But yeah, it was it was. It is fascinating to think about. I'll try to find it now and I'll, and I'll share with the class one of the readings I did give you today, which the link now works. I know you all had trouble accessing it. The link networks. Imagine, I don't think we're going to use the 3D again, it's kind of all, it's a little theoretical. I'm not sure how helpful it is. But the title is great and I can share ideas with it might be, that might be useful. It is by nature. I think he must be a historian, scholar named Kwame Anthony Appiah or appear. And it's called, is the post in postmodern. The same as in post-colonialism? And that's kind of what we're talking about. And I think it may be apparent to you at this point that my position is that they are different posts. Postmodernism is very explicitly or responds to modernism. Post-colonialism is a response to colonialism, but it's also grown out of colonialism. And it may or may not have a relationship to modernism. And so this is a piece called man with a bicycle by an anonymous 20th century artists from Nigeria, Europa. And he or she, we don't know who the artist is. Basically just created this image and uses it to kind of help us think through postmodernism versus post-colonialism. And the way he approaches the two concepts, he thinks of them as actions. And it looks at the differences in terms of what is, what are they trying to achieve, right? And so the idea of postmodernism being a reaction to modernism. The idea is that postmodernism is sort of about unraveling, right? Is an unraveling this modernist heritage, this modernist tradition, and establishing new, new ideas. Post-colonial. On the other hand. I think up here, sees that, sees it as less activist, less political, perhaps more about the condition that colonialism has left behind. So one of the things he might say about this particular piece is that a post-modern view would see a native and the bicycle. And the bicycle is a modernist trapping. But the native is adapting the bicycle as no part of his life. Therefore, making a connection with technology, modernization versus a post-colonial approach might be the bicycle helps me cover more ground faster, right? So there's this, all this weird stuff around. I shouldn't say weird stuff, but so API, it goes into a lot of kind of theoretical discussion around this particular piece. But I would say that his concluding point is that post-colonialism is kind of about moving forward in a way that modernism was not postmodernism, is not that post coloniality, maybe more of a condition that postmodernism. I know that's not really helpful. I would say that for me. The way to really point out the differences is that postmodernism doesn't necessarily offer us a political solution, is simply political. Opposition, right to modernism. Post-colonial. Post-colonialism is about building life after colonialism. Instead of dealing with the realities of the colonial condition. Again, a bit of an oversimplification, but I think maybe that at least helps you understand some of what that that is about. So I want to take you to some more contemporary art that I think of as post-modern. Wow, Look at me as post-colonial. Although I think we could certainly argue it as post-modern as well. And I think that's where they get to be. If money, postmodern, a post-colonial, are not mutually exclusive ideas. Anyway. Okay, so I want to show you some work for a work by Fred Wilson. He's an artist. And this piece, perhaps his most famous pieces called mining the museum. And he went through the Maryland Historical Museum. I can't remember the year. But this is this is what he says. I disrupt the standard way of looking at museums. Museums pride themselves on being objective and they don't want you to believe that there's a view that they're producing. And so sort of peers, that is what they're all afraid of. It's really about how it's been done and how they want to keep it. Okay? Just as an example, if you think about like African sculpture. And I don't mean like that contemporary, like the man and the bicycle. But like all old African sculpture. Maybe an ancient, but maybe like a 100 years old yourself. A Western sculpture that's a 100 years old, still ends up probably in an art museum. African sculpture. That's a 100 years old, probably ends up in a natural history museum. Okay. So feel free to disagree with me if you want. But I think we probably see more of that than the other way around. And that is Fred Wilson's point. That's also this idea of how, you know, like the artists and another people going into other cultures are not being malicious. They're just being naive, maybe in a nice way to put it, but I think it's really ignorance. But it's not their fault. It's just a view that were caught, right? That's that this is how we see things. And so Fred Wilson goes into the museum and he, he actually goes through their store room, right? And he looks at what objects are not being displayed. And he select some and then he read, presents them in the museum. Like to tell different kinds of stories than what the museum has told previously. And so these have to do with, again, absence. Absence presses, presence. Okay, so you have these three bus, Henry Clay, Napoleon Bonaparte, Andrew Jackson. And then you have three empty pedestals. Harriet Tubman, Frederick Douglass, Benjamin banker. And that's how that's how that looks. Fully installed. I think it was called the policy truth. This is in the center there. Then. Juxtaposition of shackles with the silver. This is a painting of a boy and his slave, and it's called My cat. And there's actually a voiceover When you approach the pay. It says, Am I your BMI, your brother and my friend. Am I your pet? See the mammoths would be native figures. And then an image that we've looked at quite a bit already this semester. Baby client and the baby carriage. Okay. So that's just a little bit of what Wilson did with the whole, the whole museum. But fascinating. Again, this idea that the museum, the museum is telling a story, right? But there are other stories to be told. And that's part of the issue. And again, that goes back to my question of who speaks for home in telling, telling these stories. The other, the other point I want to make is when we talk about modernism. As much as I try not to be Eurocentric or Western centric. In our content. Modernism really is a Western enlightenment kind of perspective, right? And so for me, there's a real issue with how postmodernism is applied to contexts where modernism never really took hold or had a place or whichever really part of the culture, right? In fact, by calling somebody post-modernism that doesn't have that history is in a way really appropriating. Practice. So what might be post-colonial, but not postmodern? When it gets labeled postmodern is it does get appropriated it into that, into that language at the master's tools. Right. Vessel we're talking about. So I just want to quickly go through some other things. And actually there's quite a few images, but I want to get to be authentic. The videos really is really good. It's really helpful. Library bought it just for us. I want to look at basically subcultures, right? My point in discussing the nature of modernism as Western enlightenment perspective or idea then is to contrast it with other cultures. Not just in other countries. But also I, I would say subcultures in the United States that have not had the same kind of modernist ideas or ideals. One of them that I am very interested in is a folk art. Some people object to that term. They feel like it's kinda like saying art and craft and felt guard is being lumped, lumped in with craft. But I think of folk art. Again. Maybe there's a better way to describe it, but folk art is, it's a cultural expression from particular cultures within the United States. Is, you know, how, how I'm presenting this. So this, this idea essentials from folk art to him. I'm sorry, I don't have a citation. I I will have to add it. It's it's from a book by a scholar named Cardinal, Roger Cardinal. And I think it might just be called folk art. But anyway, so this is how he, how he describes folk art. Essentials is made by common people. Collective, an anonymous egalitarian, non-elite is consistent and systematic, firmly rooted in its own traditions. Those 1000 at formalized, formalized an introvert syllabus. So very non modernist. Also, not postman hyper, right? And then just some examples of what would be considered a folk art. I'm just gonna kinda go through these quickly. Just so you can see. Part of the point here is that when we talk about postmodernism, it's very easy to overlook. Overlook the culture out of which an artist is making work. So expressions of artists he is giving voice to the share experience of ordinary people who often in living in some isolated sedentary groups will appreciate a given carving a painting as a confirmation of communal values and as reflection of social identity. I saw, I think one aspect to this idea of subculture that's important is that through physical isolation or economic isolation or ethnic isolation, for whatever reason, there was never this connection to modernism, as we've talked about it, right? So we have to find a way to talk about this work and to think about this work in different terms. Another, another aspect, subculture that I wanted to talk about, graffiti. And this I think graffiti can be, can be looked at sort of more postmodern then folk art. But I think it's also important to know that much of graffiti culture has no, you don't want to say conscious, but if, if anything, it has never embraced modernism as, as we've discussed it. And so I am feeling free to use this as an example of a subculture. In this context. I love that. C is this heart or dangerous propaganda. So related to graffiti, I would include murals. I should point out the graffiti that I showed you. This is all part of an exhibition organized by Philadelphia football project. Again, probably before you were born. This is all graffiti from Philly. I'm not sure if it's all still around. Anyway, the exhibition was called our happens here. And the murals that I'm going to show you are all from LA. Although really at this point, I could show you all Philly murals as well. But you might have noticed in one of the techs slides, both with graffiti and murals. The idea of 3D image of is basically just saying, this is, this is my right. I live here. It's a way of only owning a place. And speaking of that, this is these are just handmade signs that I think are cool. So I thought I would include them. Again. This kind of making is to my mind, an expression of ownership. Wow, Awesome. Thanks for the recommendation. Jack. He's recommending the neural arch towards, yeah, there's so many awesome, awesome murals in the city now. I guess a part of the reason I like these signs is said to me they just feel like kind of just real natural personal aesthetics, right? That they're not trying to be art. They just have a kind of aesthetics of their own work with a woman that had the most unusual makeup. And I just I, you know, that's that's her personal aesthetic. And I I enjoyed it for that look kind of weird, but I enjoyed the individuality of it. And then I just, I think this is also an important point in this discussion, which is that when people and artists in this case are about expressing their culture specifically like language, for example. You know, it's not because they are saying, I don't want this other thing. They are simply say I also, I want to retain what I have, right? And what may vary. Lewis is saying in this quote. Is that culture is how, is how we understand the world around us. Which is not to say that that understanding can't change. But we don't have to replace one thing with another. And I just want to show you these images. These are recipients of I don't even know if this grant still exists, but the National Endowment for the Arts use to support folks arts as a granting category. And so these are great cheese. Oh, I guess I can tell you quickly what these are about. What this is obviously pottery, which I would happen highway. This is Native American dance. This I think is really cool. This is net making in Hawaii, mariachi, Texas. And then this I love. If you have any interest, you can Google them. They do have a website. These are cowboy poets. So they are actual cowboys. And they are actual poets. And they have a like a convention every year. They get together. How West somewhere. And they share their poetry with each other. So I guess I kind of have a romantic image of cowboys out on the range by fire, you know, writing poetry or whatever. And then they come together and they share their, they share their writing. So this was all, this is all funded by the National Endowment for the Arts. And again, the whole point of this is the committed, the point of folk arts I think is the preservation of cultures. Not and a kind of conservative reactionary looking back kind of way, but in a way that helps members of that culture kind of move forward, right? And I represent themselves beverages. Now what I'm saying is the, is the real issue of post-colonialism. Who speaks for whom? Okay, that looks pretty good. So these slides are actually already up. I've linked them to your syllabus. And I don't mind. Yes, I get two. Okay, so the the video I want to show you is an hour, so it's going to go past our class time. But it, it should record on our on our Zoom. And also, like I said, the library bought it for us. So you can look at it through gal cat also. And I will post the link for you. It is called taking pictures. It is a documentary about documentaries. Okay. It is about Australia and documentary filmmakers who over the years made documentary films about Papua New Guinea, which you'll learn about in the video. And this documentary is about there, looking back on the work that they did. And kind of like National Geographic, realizing how racist they were and how limited they are representations of the Papua New Guinea worm. I just, I think it's really important to recognize that, you know, you both the documentary filmmakers in this video and also that National Geographic issue on race. There is no blaming or anger or anything in any of that. It's simply a recognition that we have been taught certain things and the way we've been taught in that context informs how we understand things and how we see things, right? But we need to be able to recognize that that's the case and figure out ways to deconstruct. And I probably shouldn't use that word, but yeah, so we evaluate might be a better way to think about it. Okay, So this is called taking pictures. And like I said, it's about documentary filmmakers from Australia. And it kind of focuses on it shows a little bit about the documentary films that they made. And then it talks about then they talk about then sort of criticizing how they approach the document. So man, because I waited too long. Okay, taking pictures. Are these images are up and get behind it is in the 1930s, reacting to it as straight and explore around with a Movie Camera. At that time, these people knew nothing that the outside world. Let me now get 60 years later and above and you get a mark on the Northern Australia and behind the camera. Continuing a Western tradition of inquiry, including other people's lives or somebody already. So it's so good. Whenever I tell somebody got one document and it took me around February and stock markets, you know, the slope. I must wrestle. You. Remember that? You want to listen to you. Thank you so much. I don't know, Like I'm sorry, I'll never use spatial ******* and move nine. Nobel litigation. We have this beautiful I haven't sorry, I haven't shared it. Once. I swear. When I first went to paginate in 1970, Christians and representation than the idea of filming another culture when contentious. And I was idealistic. And then what filmmaking can achieve that is still in effect, a colony of Australia. Things began to change very quickly. The self-government coming in 1973 and independence and 75. The early 1970s began a period of social and cultural experiment. And it was a time of great optimism. I'm one of a group of Australia and filmmakers who've lived and worked there from the early seventies making films which are documented an extraordinary period of change. Anybody want to give them, no matter what, you don't want a given model. Blah, blah, blah, blah, blah, blah, blah, blah. Certainly we saw so agents and anti-racism. We were certain. Sixties I did liberal ideology aware where the idea is, the idea of equivalent civil causes and kinda arrived. Yet, yeah, learning to make up an edgy things differently was all tied up with willing to respect other people. Filming more. The new, newer techniques have seen Samsung Pay and they apply to a whole new way of looking at people as well as making films. For an assessment. Carry here this making films is kind of an education program or the administration. Here's follow that the film funded assemble. At the time of their early films, documentaries who's sitting as a way of communicating this largely illiterate village societies and helping to create a sense of national identity are going, you're getting started. It's something that's too easy to forget today in the age of television and the centralized in one of the most enlightened when I came in the hundreds of nights out in remote villages on beaches than the size of bridges, you know, showing films to people who had, were in the film and seeing them. We define themselves away at the very point of seeing themselves reflected in the film. I want to make whatever. Before we were making progress, a plethora of thumbs are being made about Pokemon, again, mostly by the old combo for me in it. And they weren't made an old paternalistic style when there was this pompous boisei are telling the audience what they were thinking. Experimental area, a proper run a machine is evident by naked knew that the agent that you're going to break. And I didn't want to change. And it was only with our really work, the language and the, and the complexity or the thoughts they poetry was revealed to be exactly the same as Alice. I'm going to stand is that it's not my business. Today. You'll find puffy, you've got your money. Next module. I've got Robin, Jensen, Gary continue to explore ways of zooming and co-directed assume about the first national election after independence. And had so many discussions, Dennis My about what is, what is truly cinematic. But of course, working at top. And indeed, it was relatively easy because so much, so much that was happening at the way people express themselves was the center of it. So lively. But normally we're always kind of push, push cinema. Cinema. It's to find it to get good at that. We, and then they turn white. Like most people I mentioned all films. I think it can denote by a kind of excellent. I mean, it wasn't an accident. The parallel I was standing on this bend in the husband's highway, funding them up in the morning with other equipment manager role that we didn't know that he was coming around. We were looking for him and then suddenly this Toyota fully rousing. Shimbun came around the bend and John's there and is off the truck and he's trying to impress us and and interests the villages and he drives open-end. Little, disappears around the bend to people who were still on the side of the road, um, spread with the Higgs in front of the camera and give us the bill story about what's going to happen. Now. Here you can have, you don't need anything. Fancy. I'm even, I don't know. But anyway, but anyway, that should be like a restaurant until it by two and I don't blame you guys. Let me state what is in that mind-blowing thing in piano, my Brooklyn because an amendment number 41 visit at allowing or cutting go to bed. With the adoption of Western political and economic systems, there was concern that happened. Leanings, unique cultures would be overwhelmed. For the 20 years since two lives in G has made a series of films for the government which Explorer tradition and change at the village level. As populating it wears on with the rapid social change that's taken place. Aspects of initiation or an hour longer, performed in many societies for whole variety of reasons through the influence of fundamentalist Christians, so on and so on. And if you don't have initiation, you don't have knowledge that at least Future generations will be to look at what therefore forefathers weren't. But then that raises the problem and issue. They then become like us, the Hillman because they looking at their ancestors without fully understanding. In 1975, I traveled with Chris to remote area and the wysiwyg, which was just beginning to experience the effects of development. In the rain forest. The people who happened to him imagine the existence, surviving months at a time by hunting the deep bush and how the steam, the signal would come with anthropologist Alfred go to film the heat is ceremony. It's an elaborate fertility ritual which takes place, had the two days and nights and was traditionally performed annually every seven needs. We set off in this great rush to make the show? Yes. Otherwise, this pressure on that, this was because of this dislocation line events, road-building building and other things that maybe this would be the last time the clans come back to laminates and visitors come from other hamlets. And eta becomes an enormous celebration. Young people participate and it's a whole national and establish a rural society to re-establishing its national history. It's also expresses how does relate to nature. The choreography of the dance, and the various characters that mythological characters that come in and out. This cosmology. This grand finale, which is two figures run into the arena with their bows. And I point to the four corners of the, the compass. And then they fire each far as symbolic and right. At that point in time, we've been children 48 hours. And I only had 1.5 magazines. And with that, the actual fine lost the finale of the whole event. I could feel my tinnitus shaping. I finally made the decision to turn the camera optionally. Suddenly something I didn't come back again, just told them who was fired his era. That was the footage. Defense an isomer first contact was seen, documented the actual encounter between the explorer representatives of one culture and another. May not think that there was a very happy conjunction in a y length. This particular cultural context, which is like the last chapter in the gut, the European colonial expansion that started with the Spanish and Portuguese. Kind of in the middle of the 20th century. So the cameras were, were, were very well-developed. Pop commonly and Robert Anderson came across in film taken by the first Australian and explore and z to the hind limbs in the 1930s. Nobody interviewed people heard, witnessed those first encounters. What would I do? Let me, let me back up. Every time we got into this, I think why he sang, we think we thought you'd never can get sounds are sounds that come in. I mean, and then on top of that, it wasn't just that I could rename why they express their feelings about why observations the side. Wonderful. That's a nice, exciting experience. I will hang. Joe was an X-ray. So one of the first explorers developed a coffee plantation, land belonging to the Gadigal people. In 1985, Robin Robin build a house on land between Germany and stay preheated to make a film about them. The Thevenin pattern. It's more like writing a script, do drama, situation. I mean, era, virtually living in a film script where you're surrounded by always table. And you thought it kind of data and try and say switch at ways, people, what situations do you want to film? Now I'm a woman and Jenga, now I'm going to deal with Madonna and I don't know the molecular biology Washington jar because of the ethical debate and veered into him, wanted to accumulate money. Not so much for giant aggrandizement that fish to get water. Piano, do you want to? And so on. Um, and, and he was representing the survey aspirations that the sirens, everyone and capitalist society, which is to accumulate money to run for yourself, for your family. Now, for the Danica, for him, everything. And so she's in a sense. Bangladesh 60 percent duty on getting them. But the one problem, no balloon got under bending down. But again, when you have money, you didn't embezzle? I think a little bit of blue and either they gave you the end, they don't want to do one more thing the most. My bad happened to me. Resound the position of Joe and the relationship that he had with a group of King Charles, the string, but interestingly necessarily universal. But since the forces that were the subjects of colonialism are often seen as passive victims of references. What we turn off and saying is how indigenous societies respond to. It's like, well turbid culture and adapted to fundamentalism. Seminary with local institutions were suppressed by Leninism and put the elements will fit and finish times of stress. We emerged in 1974, American anthropologist chair leech inverted getting killed doing to make a film about the way the Northerners had adapted crickets. The main motivation of the chiefs of us who, who sponsored the project was the one that began to be seeing the same amount of content. But I guess from my point of view, we're actually represents for our own purposes, for, for our own culture. And I just wanted to secrete EPO seconds. Like I said, I said that I thought of wildlife. Wildlife. Hi, I'm Dan. Chance may draw on recent events and commonplace things or one popular out there called PK relates the shoe handedness of the field is to the stickiness. Couldn't go. Ouch. Yeah. I thought about that. That's why part of the appeal, a turbine and cricket as ticked in the world is that because it shows culture's fighting back against fanaticism, the US finds his guilt little bit to neurosis in Western societies. Colonial got imitate. I said, well, we would possibly could run the film, but only if we can have the fun introduced by which you're going to have to be offensive for cricket, cricket content. And then, my God. This is a very different view of my firmament. This to the executive has been a variation by the nakedness of them cricket. So myself and anthropologists, they apply differently as an explanation of that, of how our culture has responded to the colonial experience in a very ingenious way and it's a serious problem. Or about a year after I was in the turbulence making a film, the traditional music. We view div, way of life for the current romantic nostalgia, wanting to see in our Keynesian view of innocence and closeness to nature. No guitars and radios and chose images we feel trade and traditional culture. I was making a film, this favorite, hostilities empowerment and we tried to unpack some of our idealism, or did they just say, Look, we're trying to retain your culture. And we're trying to encourage cultural vacation and all this sort of thing, which we're quite anion about. I think that and they said, they would say, Oh, well that's very nice that they need Bin Laden. The villagers were surprised to have any questions we asked about their lives. We were pretty preoccupied with the importance of the task we train ourselves and it took us some time to understand the why they viewed us. Liang Da Vinci, she won't get unless you want to grow, we shouldn't allow me to. Lace won't go backwards as well. Nowadays. People have the same problem. I admit that I don't understand them. Well, we thought there were no robbery, so things will album is no matter how well intentioned career to see it or the society, etc, and cultural meant to these ethical dilemmas could be for an indigenous filmmakers. That slow. Yeah, mountain is one of many trained at the scooper on film school. I thought it was set up to promote loved the production. An alternative to the insurance of TV. Walsh cost me talk a lot about the ethics of the use of his hands. And then of course you can use instead. And so, I don't know. We will always found people long as snowfall, education and education for the things that we are trying to do. I guess for you to also show our reconcilable making shoes. 00 00 00, 00, 00, 00, 00. Not going to go and buy Charleston as kind of a training course offered in Paris by the French direct cinema workshop. Utterly vowel. Yeah, Thank you. I since firms act and that workshop and they went, we were doing films about sales. Current age in Paris at that time in 1980 fashion. Nobody then of one of the participants, nobody wanted to mention about all people and the Europeans. They may want to check against groups for them, which is young children, teenagers, and adults. We will not even show me a question, won't get parish. With this book came to be filmmakers of insult was just wondering juncture need to understand the technology and understand some of the language, the present language. And how people understand images on the screen and how people are proposing. Is it better? Okay, I think that's a good fit up with this kernel to make sure, to check that the weight in pounds. Let's take it a lot harder. But it's obvious to spend time on models that dense than the start time of the magnet wasn't needed, was one that only seems to come out for themselves and not to be to be diminished by our own projects. She's got to put a little bit. Especially Mitchell has everything. You can think of this like this, because when you actually tell me that it's not one of the most difficult things is they want to have the next famous Cruise films on Aborigines in Australia was invited to show when initiation ritual of the people don't shrink. Topologists Murray's could do 169 from that trip and load of 10 use laser produced two major series of nine inserting nodes on the brain, tore their artistic energies. You need to go in the CRM, of which the most important one seems to be this huge initiation. Taken away from their mothers women, there are about nine. Okay. And then they go to the kitchen and maintenance and go through this rigorous without sending working. There's this huge business of secrecy, which is the one uncomfortable thing, come morally. Covered mythical thing and something like that word yet. I make the boo, you had enough. I didn't know much about filmmaking, but I knew enough about everything to that they suddenly, they didn't want us to directly tell this. That is absolutely no doubt about that. The elders Hopi and then be dedicated to thoroughly document the record or the rituals, but insisted on control of access to the final films. I still can't be shown publicly and pump and you get the identity. The first series has ever been seen and other seeds. Violence isn't a piece of cake. Really happy to. Hardships will come out at the end. And that's incredible, tough, strong man with Maslow's like you've never seen before. You can carry a camera up and down without sitting or while I'm Robbie, normal mapping radius with posh rushes and Netherlands. But to get to that stage center, is it a try the stuff in the filament? And it's one thing to see in context, infinity now as you see it in place and it has a place to sit, bits and pieces so that you get the feeling of clinical boys go through these ordeals. A huge challenge right now, Karachi colors. And this is a huge responsibility to treat that material with respect. I'm really sorry that my wanted. Rather than on a tree a tree, you'd asked me to help translate some latency. We, me and I wanted access to the film's command. Colon was an initiating the first to truly informed in 1969. The chairman and former president was shown to elders. He won or lost. My bumbling. Okay. Good. Yes. Detail into the net. That's an absolutely wonderful office. Okay, Good deal. Then before I was saying polynomial on the unlucky one. All set standards and also the same things. Not to several years collaborating is cadet a command wanted to see France himself. When he was there. He was able to view the early films. Again. Gustavo, I'm still looking what my video we're going to get. Interesting. I came by anytime anytime you want to be time anymore. You know me well know. Okay. What am I? I'm done with that. Second camera movement. As one, median microphones I'm sorry. Let me know. Mixing them and misleading then. My performance did not leaving a lot of purple or making up. The MR. And now, more commonly than smoking was governed by Hobbes, seems to me, Who's that? They will not stand by other lucky. Why are you walking? Suddenly be sensitive. And he sat 1000 print with these shows and the young son and live for several months in a neuron and village within this wanted to make a detailed ethnographic film about the ancient ritual and sharp groaning. I'd work hot and honestly at trying to make a film which was valorizing some ancient tradition. But that true dynamic of what was there was far more complex. And it was about the fact that, that changes were occurring in this village, which meant that the traditional And life would never be the same again. All right, bye. Bye guys. I divide it up whether it's a village itself in a generation since I was in turmoil. But the one thing that I was never able to film was, of course the scenes which without which there wasn't a film that is, and catching the shock. Of course, I was very afraid of this idea of having to fill five miles out to sea or somebody like that in a typical western response, was it something like that, that looks dangerous. You throw technology and they said, Well, look, if you really want to do this new listen to us, throw away that revenue you've got and we will make a new canoe. So I followed the instructions that I was given and I got my inhibitions and took the expensive camera out on, onto the water. Because I realize that whenever we film that had to be done with an intimate conversation occurring between me and my friends that aren't quotes. By looking nice. Make England and I'm supposed to meet my needs. In this case. Down. On the very first day that we went out in this canoe doing it their way. And we paddled, got up before the die was decided by them, not by me. And we pedaled five hours until the village was be on the horizon and manage data to perform this magic rituals. And the shock was the film itself. As a finished out effect might look to be seamlessly constructed in a very natural. But getting to that point is, is always much messier. And just like life is much nicer. Our torso and his work to the PNG government has played a major role for both overseas and PNG filmmakers. Films and golf long-term collaboration with village communities. I don't want my God. I don't know. I hop up on again. I talked to several years away. Professor Joe returned to his village to bummer, to celebrate his academic achievements for these people. I'm Chris Owen made a film about the issues confronting Joan Ernie's we turn. The focus of the events has to be the re-creation them an ancient dance drama. Much. Tamara is by any state, extremely isolated right in the middle of the rainforest. And those are great. A lot of people in the West, they are not aware that the complexity, that religion, politics and moods, they sort of developmental issues that the country is payer. The demands, an expectation on a personalized John are absolutely enormous. I would never do that right now if I now another thing that I want to now again, I said that again, I would recommend that people are concerned about the future and there is no tripled. Their government was very little information getting out to those communities. And he's seen as a conduit for development. For a walk. There wasn't a lot of things. I will give you a minute. And then we're talking about what? I mean. I bet I'd like someone to play just about twice. I've got maybe they didn't know better. Now. Yeah. But you probably know somebody that was my hand is that my supervisor? Will I will I will not letting it a little bit of FIFA. The audio tones hadn't been performed in John's village since I think before the Second World War. And job was successful. Matt, who is able to stage this ancient dance. He wanted it performs well just for the sake of performance, but to created the dialogue to get the community is on that bend in the river to become reflective about their history and have some sort of collective debate over that poor my period about where they were doing. They were either. We would update and make a film about how they're gonna spend all this money. From their joint competence. Within the chapter got a massive company, collects. It will get rid of that. Five years after filming generalized night, his pub commonly in Robyn Anderson, return to the highlands for the young daughter and build another house, some mad betray GLA in the county because they didn't plan to stay for a year of showing how many people are very stressed out by the issue that we can send you that which was shy, right? The Lang Lang, the anticipation of the returns that I mean, that really was very obsessed and I went very anxious about the whole thing. And why why why did you get the grandfather law? But we're not we're not going to have that moment. Because I think there will be w I don't, but I believe that we do have to do that. Then. I will go back to the climate. Now, the moment by the Babylonians data will begin. We're now going to make it or the whole term like a one a lot faster. So there was no sense of which there was a safe place. You could be consumed from the dispersed to get the best materials brought up close. And frequently the whole battle spin around its axis. So with the enemy 30-second seven, after having Davis with pigment material film, it was, it became worse and worse as we were inevitably drawn into. Particularly good for us to light, light in the right, the stages for a book. I'm very nasty. We we took a couple of people in the hospital bill then. And that was titled along y. So much prized neutrality. So that's, that's one of the candle was impossible. Film. I like how this will turn out. Well, blackout us with some submitted by our American agents for the academy nominated card system. They apparently were some members of the academy nominating committee felt that the scenes of warfare and the film was so extraordinary that time I'll stay for the inch triaged. But to imagine that the arch that 5 thousand Harlem warriors would fight and kill each other over a period of 12 months. And the cast list of 1300. Now for the cytidine Canada was sent with the sort of thing that is left my sexy Hollywood could come up. I thought, go. Hey, why? Cowboy was a reform Roscoe for outlaw became the main character in the film we made about urban migrants. And the law school buses with me and listen, they lose money on that money and she didn't want something something that length. Over time. I got to know cowboys family, like many other people in the settlements where you get to speak to the camera saying no one else seemed interested in these stories, right? Yes. Yeah. I just thought that would be like if there ever was no wonder. Well, why is that? Well, yeah. I mean, like mountain, maybe. I don't know if it is a cowboy saw the finished film. He said it was okay, but he has to battle the scenes we left out. In the sense of whom is a bad one cannot know. The conventions of filmmaking often discards the film is fragments of people's lives. And I made accountable to us. I wasn't living in Papua New Guinea, I was living here in Australia. And I had already made several films by that stage, which went situated in Papua New Guinea. And accountable to us was a trip back there. And to make a film which actually commented on some of these ideas about representation and really a purpose. So a comment on my enroll their, everybody is, as a filmmaker, was about film, about the act of photography itself. And I look on the nozzle. Hello, My name, those banks, and suddenly I need it. I think the film is full of moments where I might reference to how complicit I am as a filmmaker and bifurcation the audience is watching my pills, is, is in any process which shakes to document something as every day as wealthy tourists visiting each proceed to highway to my the dollar US and piggy. And he says full of Shannon said, yes. Of course, you know what I'm saying is loaded with several meetings. What's a highway to make a dollar to allow her to photograph them or to allow me to asking questions. It's all meant to lead. It's important to be reflected. The Christian, the way in which we represent the lives of elements. The cameras, if they mostly have heads that I can sympathize with the man in the market and tell me if I'm wrong. Television show. There are still reasons to be able to capture moments between no juice. All right. All right. Everybody.