Rockbund Art Museum 上海外滩美术馆

Reassemblage (1982) is the first film by Trinh T. Minh-ha, a 16mm piece shot in Senegal. It was in this film that she presented the notion of “speaking nearby”, a strategy running through all her practices ever since to observe and delve into the fluid changes of the “visible and invisible, exposed and unexposed” elements of the third world (especially female world). As an intertextual work of Surname Viet Given Nam (1989), one of her seminal films, Forgetting Vietnam (2015) leads audience on a poetic “stroll” through the images of contemporary life in Vietnam.

Trinh T. Minh-ha’s works break the media boundaries of “documentary reality” and challenge the “objectivity” of anthropological and ethnographic images by resorting to body, voice and film montage. “Hear what you haven’t heard and see what you haven’t seen”. Trinh T. Minh-ha’s films and daily discourse practices cast light on a different kind of possibility to access the world we live in. According to the artist, as soon as the shooting starts, you’ll need to leave everything else behind and go into it in a state of utterly ignorance; or in other words to “travel in the dark”

On the closing day of Trinh T. Minh-ha: Traveling in the Dark, a film talk and two screenings (Reassemblage at 14:00 and Forgetting Vietnam at 16:10) will be presented. The talk will be given by Ms. Wang Lixin, professor at Meishi Film Academy of Chongqing University and executive director of the Institute of Culture and Creative Industries at Chongqing University. She studied with professor Trinh T. Minh-ha during her post-doctoral fellowship at UC Berkeley, from which she gained a lot of inspirations. The poetic, unconstrained and unique creative practice and academic style left Wang with profound influence, inspiring her to pay attention to localized practices of modernization. After her return to China, she chose the rural society of southwest China as the subject for field research, and spent six years shooting the documentary film Mountain of Nothingness (2022). Professor Wang will start with her impression of Trinh T. Minh-ha - her “gentle yet tough” personality and multiple identities that cross different fields; delve into her approach of “speaking nearby” through the two films Reassemblage and Forgetting Vietnam; and finally, make a comparison between Trinh T. Minh-ha’s works and Mountain of Nothingness to further probe into the daily discourse practices to access the world we live in.

《重组》（1982）作为郑明河第一部电影作品，是她在非洲塞内加尔用16毫米胶片拍摄的一系列影像。正是在这部影片中，郑明河先锋性地提出了“在旁言说”（just speaking nearby）拍摄观念，自此，体察与表达第三世界（尤其是女性世界）的“可见与未见、敞开与隐蔽”元素的流动变化，贯穿了郑明河的全部创作。《遗忘越南》（2015）作为其代表作《姓越名南》（1989）的互文性文本，以其诗意性的影像语言，“漫步”式的观感方式，展示了现代化进程中故土家园的浮光掠影。

概言之，郑明河作品通过诉诸身体、音声和电影蒙太奇等手法，打破了“纪录真实“的媒介边界，并对人类学和民族志影像的”客观性“提出挑战。“闻你所未闻，见你所未见”，郑明河的影像作品与日常话语实践，揭示了进入我们生活世界的另一种可能。如她所言:“只要拍摄开始，你就要将这些东西抛开，以一种一无所知的状态去进入，这也是我所说的‘走进黑暗之中’（Traveling in the Dark ）的一部分…

在艺术项目“郑明河：暗游”闭幕当天，最后一场影评会将在《重组》（14:00-14:40）和《遗忘越南》（16:10-17:40）的呈现之间，由重庆大学美视电影学院教授、重庆大学文化创意产业研究院执行院长王立新为大家带来讲座。她曾在美国加州大学伯克利分校跟读郑明河教授开展博士后工作，在美访学期间，师从合作导师郑明河收获良多：郑明河诗意、自由、独具一格的创作实践与学术风格，不仅影响了她的治学观念，还引导她回国后，关注现代性进程的在地化实践，并以中国西南乡土社会为田野对象，历时六年拍摄了乡村纪录片《野池山纪》（2022）。讲者将从对郑明河的印象谈起——有关她 “温而厉”的个性、跨界的多重身份；分析其以“在旁言说”方式，呈现“见所未见、闻所未闻”世界的两部影片《重组》和《遗忘越南》；最后，借助“盲人摸象”的隐喻，讲者将把自己纪录片《野池山纪》的创作与郑明河作品加以比较，进一步讨论进入我们生活世界的日常话语实践方式。

王立新，女，重庆大学美视电影学院教授，重庆大学文化创意产业研究院执行院长。四川大学影视文艺学博士，北京大学艺术学博士后，美国加州大学伯克利分校、芬兰赫尔辛基大学博士后。主要研究方向：影视美学、符号学、文化创意产业、艺术学理论。

2016年入选中国广播影视联合会全国广播影视“十优百佳”理论人才、2019年入选第三批重庆市学术技术带头人戏剧影视学后备人选。
近期代表性论著：《“古风国潮”：在线短视频的现代性审美隐喻与意义生产机制》、《同中之异：“京味儿”电视剧的文体演变与民族化叙事传统》、《媒介研究与影视中的族群、话语、现代性体验》，个人执导的中国乡村纪录片《野池山纪》（Mountain of Nothingness）曾在国内外多个影节与学术论坛展映交流。