http://floatingprojectscollective.net/2010/05/walking-fields-a-critique-of-flaneuse-preview-notes-6-for-fpcs-1st-exhibition/ a Hongkong-based interdisciplinary art community, a forum for visual ethnography Tue, 27 Dec 2011 03:38:55 +0000 hourly 1 http://wordpress.org/?v=3.1.3 http://floatingprojectscollective.net/2010/05/walking-fields-a-critique-of-flaneuse-preview-notes-6-for-fpcs-1st-exhibition/comment-page-1/#comment-1296 Linda Lai Tue, 27 Dec 2011 03:38:55 +0000 http://floatingprojectscollective.net/?p=510#comment-1296 virtualDavies, thanks for your comments. I totally agree with you on a generally gender-neutral stance to flanerie, and indeed it has been how I conduct my writing and videography which I find empowering — especially as I may embody fluid multiple subject positions as my body moves through space and time, a performative approach that forces beyond class, race and gender. Towards the end of “Trespassing,” however, I noticed the tragedy that happened to my student had a lot to do with her being foreign, female, and the fact that she is a very small woman with a child’s face. As my student then, she admired the practice of wandering through the city and wanted to study travel literature at her graduate school. Her being murdered while wandering off casually due to a plane delay suddenly fueled up the significance of her position as the perceived ‘weak’ subject. … It is an irony that most part of “Trespassing” is a celebration of my own traveling and distant critique of repetition, whereas in the process of composing with my own footage, my student’s death and the great pain I could not take out suddenly dawned on the work as a due closure. (Linda C.H. Lai) virtualDavies, thanks for your comments. I totally agree with you on a generally gender-neutral stance to flanerie, and indeed it has been how I conduct my writing and videography which I find empowering — especially as I may embody fluid multiple subject positions as my body moves through space and time, a performative approach that forces beyond class, race and gender. Towards the end of “Trespassing,” however, I noticed the tragedy that happened to my student had a lot to do with her being foreign, female, and the fact that she is a very small woman with a child’s face. As my student then, she admired the practice of wandering through the city and wanted to study travel literature at her graduate school. Her being murdered while wandering off casually due to a plane delay suddenly fueled up the significance of her position as the perceived ‘weak’ subject. … It is an irony that most part of “Trespassing” is a celebration of my own traveling and distant critique of repetition, whereas in the process of composing with my own footage, my student’s death and the great pain I could not take out suddenly dawned on the work as a due closure. (Linda C.H. Lai)

]]> http://floatingprojectscollective.net/2010/05/walking-fields-a-critique-of-flaneuse-preview-notes-6-for-fpcs-1st-exhibition/comment-page-1/#comment-1294 Trespassing Flâneuse « virtualDavis Wed, 14 Dec 2011 20:29:30 +0000 http://floatingprojectscollective.net/?p=510#comment-1294 [...] depicts the filmmaker walking various cities in the world and encourages audiences to link the video with the practice of female flânerie, a term from the French masculine word flâneur. Baudelaire’s flâneur depicts a man who walks [...] [...] depicts the filmmaker walking various cities in the world and encourages audiences to link the video with the practice of female flânerie, a term from the French masculine word flâneur. Baudelaire’s flâneur depicts a man who walks [...]

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