Abstract
This essay adopts and adapts memory work, as developed by Annette Kuhn, as a method to search for the author's grandmother in Chinese American feminist film history. Foregrounding a trans-feminist perspective that moves across and between nations and film cultures, it introduces readers to a relatively unknown “orphan” documentary film, Forever Chinatown (1960). For the author and her family, the film carries with it a history of trauma that shapes what is remembered about it. Drawing on work in feminist film studies, particularly the notion of an archive of feelings, the essay blends life writing, theory, and visual-textual analysis to both allow the author to write her way into the film and trace her grandmother's presence in and labor on the film.
Publisher
University of California Press
Reference36 articles.
1. The website for Chan's film Forever, Chinatown (2016) is https://www.foreverchinatown.com/.
2. Jun Okada, Making Asian American Film and Video: History, Institutions, Movements (Newark, NJ: Rutgers University Press, 2015).
3. Forever Chinatown press book (Hong Kong: United Chinese Cinema Enterprises, 1960), author's collection, hereafter “press book.” The book is in Chinese and is unpaginated. My deepest appreciation to Michelle Crowson and Clay Zhou for their work translating its text into English.
4. Press book.
5. Paul S. Moore, “Ephemera as Medium: The Afterlife of Lost Films,” Moving Image 16, no. 1 (2016): 136.
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1. Transpacific Convergences;STUD UNIT STAT CULT;2022-07-19