This video thesis project describes the idea of spirituality of the inherent and/or socialized gender natures, as depicted in the physical appearances of trees. This video describes the concepts of 'spiritual vagina and spiritual penis'.
This is my first video remix attempt at creating and playing with various narratives existing. The questions that guided this project were: What is the different between counter and resistance? Is Counter indeed 're'presenting a dominant narrative? Is resistance the active, spoken, performative force that moves against a dominant narrative?
“Remix lays bare the constructed nature of the original and often calls attention to its own construction” (Kuhn). What I take from Kuhn is what remix can do, in it’s possibility to question ‘grand narratives,’ for the purpose of creating resistance. This speaks greater to my former and basic perception of a ‘remix’as something of an assemblage or collage of various clips and sound or media bits. The remix for me now has a greater importance and purpose. Kuhn shapes the remix as a “skill to exploit original narrative.” The original narrative is what is in the surround everyday. As consumers and subjects of media, narratives constantly bombard us each day, catching and getting us with each false and idealized perception. In our current media world and worlds, there is no longer just the catch to buy a product as corporations attempt to purchase our habits and consumer perceptions, our minds continue to be even further colonized the attempt at purchasing our opinions and thoughts, as ideologies further seep into our imaged and advertised lives. Kuhn’s perspective of the need for remix in our ‘mediated’ world, makes for me, remixing as a necessary component in our world today. The examples of “Now” and “Closer” as samples of works that demonstrate resistance to dominant narratives and the use of “Queer Carrie” as an example of a counter narrative, give me further clarity into the goals of what I wanted to do with my video remix project, as I considered how to demonstrate a dominant narrative. Now I feel compelled to demonstrate a counter narrative to use my video project to demonstrate, as an act of resistance, a counter narrative.
I saw that from the collection of footage I had collected that I could create a narrative, similar to QueerCarrie, with the same young character, from two different films, and a father, with footage from his younger days, and how violence plays out in his life, as the aggressor in both cases as a younger man and then as a father (both played by the same actor, Benjamin Bratt). In addition to this fictional narrative, two other narratives showed themselves, one in the interior or internal monologue, as audio from Latino gay men about their experiences, as well as the depiction of what I call a trickster narrator who creates a question space for the young son in the struggle of his counter sexuality against the dominant story and narrative of heterosexuality, embedded in the hypermasculinity and hegemonic world of sport and of violence where I felt the image and the identity of the boxer is the common thread of this examination. The trickster voice speaks what is not spoken publically in the story. The piece would not be the same without the interview of Orlando Cruz, who recently came out as gay, and is so often now referred to as, “the first out boxer,” its in Cruz where perhaps my question may be answered somewhat, that sometimes one must be their own counter story, or that perhaps the only way to resist is to be truthful, and in being truthful, one is resisting the expectation and assumptions labeled and placed on to identities, creating a new sphere, where a boxer can be gay, or rather where a gay man can be a boxer. At the heart of this statement is that essentially both identities involve men. A gay boxer is still a man, it is the qualities and characteristics of gender that must be examined. This cultural resistance through archival intervention (Horwatt) is what is bending the hegemonic narrative. The Oruz portion of the video I think is the celebratory portion, as well as the lead in to this clip, with the quote from an interviewed man, who says, “Fuck it, I’m gay, I like fools, and fuck what people say about me.” I hope that through more counter media, more resistance can take place, where hidden and silenced allies become active bystanders and not passive witnesses, where interventions can take place, but more than this- to create a world, of a dream where those who have identities that are not included in hegemonic narratives, are to be included, and if not, intervene to demonstrate their own narratives.
Kuhn, V. (2012). The rhetoric of remix. Transformative Works and Cultures, 9(0). doi:10.3983/twc.v9i0.358. Web.