Difference between revisions of "Trinh T. Minh-ha"

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* with Jean-Paul Bourdier, ''African Spaces: Designs for Living in Upper Volta'', Holmes & Meier, 1985, 229 pp.
 
* with Jean-Paul Bourdier, ''African Spaces: Designs for Living in Upper Volta'', Holmes & Meier, 1985, 229 pp.
 
* ''En minuscules'', Le Méridien Éditeur, 1987, 99 pp. (in French)  
 
* ''En minuscules'', Le Méridien Éditeur, 1987, 99 pp. (in French)  
−
* ''Woman, Native, Other: Writing Postcoloniality and Feminism'', Indiana University Press, 1989, [http://gr.aaaaarg.org/ref/e100898b529786a3d8befd70ce952097#2.915 ARG], [http://www.scribd.com/doc/104893562 Scribd]. [http://faculty.ucr.edu/~ewkotz/texts/Kotz-1989-Independent-TrinhReview.pdf Review].
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* ''Woman, Native, Other: Writing Postcoloniality and Feminism'', Indiana University Press, 1989, [http://aaaaarg.fail/ref/e100898b529786a3d8befd70ce952097#2.915 ARG], [http://www.scribd.com/doc/104893562 Scribd]. [http://faculty.ucr.edu/~ewkotz/texts/Kotz-1989-Independent-TrinhReview.pdf Review].
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* ''When the Moon Waxes Red: Representation, Gender and Cultural Politics'', Routledge, 1991, [http://gr.aaaaarg.org/ref/7814c36f6be27b9cf37f098c5b7a5983#2.13 ARG]; 2013. [http://books.google.com/books?id=GKTKAgAAQBAJ&printsec=frontcover]
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* ''When the Moon Waxes Red: Representation, Gender and Cultural Politics'', Routledge, 1991, [http://aaaaarg.fail/ref/7814c36f6be27b9cf37f098c5b7a5983#2.13 ARG]; 2013. [http://books.google.com/books?id=GKTKAgAAQBAJ&printsec=frontcover]
 
* ''Framer Framed'', Routledge, 1992. [http://books.google.com/books?id=IjBkhRtYVUQC&printsec=frontcover]
 
* ''Framer Framed'', Routledge, 1992. [http://books.google.com/books?id=IjBkhRtYVUQC&printsec=frontcover]
 
* ''Texte, Filme und Gespräche'', eds. Hedwig Saxenhuber and Madeleine Bernstorff, Munich: Kunstverein, 1995. (in German)  
 
* ''Texte, Filme und Gespräche'', eds. Hedwig Saxenhuber and Madeleine Bernstorff, Munich: Kunstverein, 1995. (in German)  
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===Selected essays===
 
===Selected essays===
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* "Difference: 'A Special Third World Women Issue'", ''Feminist Review'' 25 (Spring 1987), pp 5-22, [http://gr.aaaaarg.org/ref/245bbc3613787d35a282f3688416d875#1.183 ARG], [http://www.mitchcogo.com/dwnlds/difference.pdf PDF].
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* "Difference: 'A Special Third World Women Issue'", ''Feminist Review'' 25 (Spring 1987), pp 5-22, [http://aaaaarg.fail/ref/245bbc3613787d35a282f3688416d875#1.183 ARG], [http://www.mitchcogo.com/dwnlds/difference.pdf PDF].
 
* "Not You/Like You: Post-Colonial Women and the Interlocking Questions of Identity and Difference", ''Inscriptions'' 3-4 (1988), [http://culturalstudies.ucsc.edu/PUBS/Inscriptions/vol_3-4/minh-ha.html HTML].
 
* "Not You/Like You: Post-Colonial Women and the Interlocking Questions of Identity and Difference", ''Inscriptions'' 3-4 (1988), [http://culturalstudies.ucsc.edu/PUBS/Inscriptions/vol_3-4/minh-ha.html HTML].
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* "Documentary Is/Not a Name", ''October'' 52 (Spring 1990), pp 76-98, [http://gr.aaaaarg.org/ref/c14bfbb70f95c3a8accbddeef71de386#1.024 ARG]; exp. as "The Totalizing Quest of Meaning", in Minh-ha, ''When the Moon Waxes Red'', 1991, pp 29-50; repr. in ''Theorizing Documentary'', ed. Michael Renov, Routledge, 1993, pp 90-107, [http://www.onierafilms.com/readings/minh-ha.pdf PDF].
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* "Documentary Is/Not a Name", ''October'' 52 (Spring 1990), pp 76-98, [http://aaaaarg.fail/ref/c14bfbb70f95c3a8accbddeef71de386#1.024 ARG]; exp. as "The Totalizing Quest of Meaning", in Minh-ha, ''When the Moon Waxes Red'', 1991, pp 29-50; repr. in ''Theorizing Documentary'', ed. Michael Renov, Routledge, 1993, pp 90-107, [http://www.onierafilms.com/readings/minh-ha.pdf PDF].
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* "Ear Below Eye", ''Ear'' 9:5/10:1 (Fall 1985); repr. as "Holes in the Sound Wall", in Minh-ha, ''When the Moon Waxes Red'', 1991, pp 201-206, [http://gr.aaaaarg.org/ref/63e695bae47421d57323420b8e33ca38#0.063 ARG 2up].
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* "Ear Below Eye", ''Ear'' 9:5/10:1 (Fall 1985); repr. as "Holes in the Sound Wall", in Minh-ha, ''When the Moon Waxes Red'', 1991, pp 201-206, [http://aaaaarg.fail/ref/63e695bae47421d57323420b8e33ca38#0.063 ARG 2up].
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* "Nature's ''r'': A musical swoon", in ''FutureNatural: Nature, Science, Culture'', ed. George Robertson, Routledge, 1996, pp 86-104, [http://gr.aaaaarg.org/ref/1ca242713f23651203703e23070bd718#0.053 ARG].
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* "Nature's ''r'': A musical swoon", in ''FutureNatural: Nature, Science, Culture'', ed. George Robertson, Routledge, 1996, pp 86-104, [http://aaaaarg.fail/ref/1ca242713f23651203703e23070bd718#0.053 ARG].
  
 
===Bibliographies===
 
===Bibliographies===
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==Interviews==
 
==Interviews==
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* Constance Penley, Andrew Ross, "When I Project It Is Silent", ''Camera Obscura'' 13-14 (1985); repr. in Minh-ha, ''Framer Framed'', 1992, pp 225-242, [http://gr.aaaaarg.org/ref/393edb4350b393b0e290eca155a4b923#0.01 ARG 2up]. Conducted 1983.
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* Constance Penley, Andrew Ross, "When I Project It Is Silent", ''Camera Obscura'' 13-14 (1985); repr. in Minh-ha, ''Framer Framed'', 1992, pp 225-242, [http://aaaaarg.fail/ref/393edb4350b393b0e290eca155a4b923#0.01 ARG 2up]. Conducted 1983.
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* "Woman, Native, Other: Pratibha Parmar Interviews Trinh T. Minh-ha", ''Feminist Review'' 36 (Autumn 1990), pp 65-74, [http://gr.aaaaarg.org/ref/75f8f672a268fac93ddcacacb5c88748#1.185 ARG], [http://translationtransmission.files.wordpress.com/2013/10/woman-native-other.pdf PDF].
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* "Woman, Native, Other: Pratibha Parmar Interviews Trinh T. Minh-ha", ''Feminist Review'' 36 (Autumn 1990), pp 65-74, [http://aaaaarg.fail/ref/75f8f672a268fac93ddcacacb5c88748#1.185 ARG], [http://translationtransmission.files.wordpress.com/2013/10/woman-native-other.pdf PDF].
 
* Laleen Jayamane, Anne Rutherford, "'Why A Fish Pond?' Fiction at the Heart of Documentation", ''Filmnews'' 20:10 (Nov 1990), Sydney; repr. in Minh-ha, ''Framer Framed'', 1992, pp 161-179, [http://www.sfu.ca/~decaste/867fall08/867pdfs/WhyAFishPond.PDF PDF]. Conducted June 1990.  
 
* Laleen Jayamane, Anne Rutherford, "'Why A Fish Pond?' Fiction at the Heart of Documentation", ''Filmnews'' 20:10 (Nov 1990), Sydney; repr. in Minh-ha, ''Framer Framed'', 1992, pp 161-179, [http://www.sfu.ca/~decaste/867fall08/867pdfs/WhyAFishPond.PDF PDF]. Conducted June 1990.  
 
* Nancy N. Chen, "'Speaking Nearby:' A Conversation With Trinh T. Minh-ha", ''Visual Anthropology Review'' 8:1 (Spring 1992), pp 82-91, [http://docfilmhist.files.wordpress.com/2008/09/chen.pdf PDF].
 
* Nancy N. Chen, "'Speaking Nearby:' A Conversation With Trinh T. Minh-ha", ''Visual Anthropology Review'' 8:1 (Spring 1992), pp 82-91, [http://docfilmhist.files.wordpress.com/2008/09/chen.pdf PDF].

Revision as of 09:36, 2 June 2015

Trinh T. Minh-ha (1952) is a filmmaker, writer, literary theorist, composer and professor. She has been making films for over thirty years and may be best known for her films Reassemblage (1982) and Surname Viet Given Name Nam (1985).

Films

More.

Publications

Works are in English unless otherwise stated. Green and blue links point to digital versions of publications available on Monoskop or other digital libraries (sometimes using abbreviations).

Books

  • Un art sans œuvre, ou, l'anonymat dans les arts contemporains, Lathrup Village, MI: International Book Publishers, 1981. Originally presented as the author's dissertation, University of Illinois, 1977. (in French)
  • with Jean-Paul Bourdier, African Spaces: Designs for Living in Upper Volta, Holmes & Meier, 1985, 229 pp.
  • En minuscules, Le Méridien Éditeur, 1987, 99 pp. (in French)
  • Woman, Native, Other: Writing Postcoloniality and Feminism, Indiana University Press, 1989, ARG, Scribd. Review.
  • When the Moon Waxes Red: Representation, Gender and Cultural Politics, Routledge, 1991, ARG; 2013. [1]
  • Framer Framed, Routledge, 1992. [2]
  • Texte, Filme und Gespräche, eds. Hedwig Saxenhuber and Madeleine Bernstorff, Munich: Kunstverein, 1995. (in German)
  • with Jean-Paul Bourdier, Drawn From African Dwellings, Indiana University Press, 1996, 334 pp. Review.
  • Cinema Interval, Routledge, 1999; 2013. [3]
  • Secession, 2001, 64 pp. [4]
  • The Digital Film Event, Routledge, 2005.
  • with Jean-Paul Bourdier, Vernacular Architecture of West Africa: A World in Dwelling, Routledge, 2011.
  • Elsewhere, Within Here : Immigration, Refugeeism and the Boundary Event, Routledge, 2011.
  • D-Passage: The Digital Way, Duke University Press, 2013, Excerpt on Scribd.

Selected essays

  • "Difference: 'A Special Third World Women Issue'", Feminist Review 25 (Spring 1987), pp 5-22, ARG, PDF.
  • "Not You/Like You: Post-Colonial Women and the Interlocking Questions of Identity and Difference", Inscriptions 3-4 (1988), HTML.
  • "Documentary Is/Not a Name", October 52 (Spring 1990), pp 76-98, ARG; exp. as "The Totalizing Quest of Meaning", in Minh-ha, When the Moon Waxes Red, 1991, pp 29-50; repr. in Theorizing Documentary, ed. Michael Renov, Routledge, 1993, pp 90-107, PDF.
  • "Ear Below Eye", Ear 9:5/10:1 (Fall 1985); repr. as "Holes in the Sound Wall", in Minh-ha, When the Moon Waxes Red, 1991, pp 201-206, ARG 2up.
  • "Nature's r: A musical swoon", in FutureNatural: Nature, Science, Culture, ed. George Robertson, Routledge, 1996, pp 86-104, ARG.

Bibliographies

Interviews

  • Constance Penley, Andrew Ross, "When I Project It Is Silent", Camera Obscura 13-14 (1985); repr. in Minh-ha, Framer Framed, 1992, pp 225-242, ARG 2up. Conducted 1983.
  • "Woman, Native, Other: Pratibha Parmar Interviews Trinh T. Minh-ha", Feminist Review 36 (Autumn 1990), pp 65-74, ARG, PDF.
  • Laleen Jayamane, Anne Rutherford, "'Why A Fish Pond?' Fiction at the Heart of Documentation", Filmnews 20:10 (Nov 1990), Sydney; repr. in Minh-ha, Framer Framed, 1992, pp 161-179, PDF. Conducted June 1990.
  • Nancy N. Chen, "'Speaking Nearby:' A Conversation With Trinh T. Minh-ha", Visual Anthropology Review 8:1 (Spring 1992), pp 82-91, PDF.
  • Tina Spangler, "Interviewer Interviewed: A Discussion with Trinh T. Mihn-ha", Latent Image (Winter 1993), HTML.
  • Gwendolyn Foster, "A Tale of Love: A Dialogue with Trinh T. Minh-ha", Film Criticism 21:3 (Spring 1997), 89-114, PDF.

Literature

  • An van Dienderen, "Indirect Flow through Passages: Trinh T. Minh-ha’s Art Practice", Afterall (Spring 2010), pp 90-97, Academia.edu.

Links

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