Heart of White Dust
In Cha's "statement of plans" for a historical novel entitled, White Dust from Mongolia, the online description (for item #1992.4.91) gives biographical information related to her similarly-titled film, White Dust from Mongolia, and its making, by citing Cha's sister, Bernadette:
"In 1980 Theresa and her brother James traveled to Korea to shoot footage for Theresa's proposed
film "White Dust From Mongolia." The film was never completed. Bernadette Cha (Theresa's
sister) notes Theresa had difficulty in Korea shooting the film. Local authorities were suspicious of
the cameras. Bernadette suggests Theresa as a result planned to publish a narrative book of
"White Dust From Mongolia" then complete the film."
Amongst these archival remains, then, voices intermingle, incorporating oral histories to illuminate intention.
The most substantive description for the film, White Dust from Mongolia, comes from Cha's "Idea Sketch," in which she describes two narratives in the film converging.
"In the typewritten text Cha describes the film as "a simultaneous account of a narrative, beginning
at two separate points in Time. The two points function almost as two distinctive narratives,
the "Times" overlap during the diagesis of the film and a final conversion of the two points
are achieved to one complete superimposition, to one point in Time." Narrative I "begins in
the Past, within the interior of memory itself. The memory materializes physically on the screen...
the screen is the memory projected - the viewer "sees" physically, the memory images."
Narrative II "begins in the Present, with the Telling and Retelling process of the "Recit."..
(she) is at the moment of return to retrieve events past." The two Narratives merge in the end."
One of the storyboards seems to animate such a sequence:
while the more detailed "Idea Sketch" elaborates the possible images:
14. As two women continue their exchange, (the partition of
gauze curtain removed), and the shadow projection is changed. the figures are
seen without the silhouettes, there is no camouflaging. images begin to appear
behind the two figures, and gradually the women fade out and only the images
are left.
– the image becomes larger (cls to the image projected)
– larger still until the image takes over the whole room – Memory.
projection takes over completely
the complete transference- trans-
immigration of image and memory
–portraits in studio windows-busan
–airplane
–railroad tracks
–inside the train
–family photo geneology
in/out of White of single images until two images simultaneously superimpose and become one image.
"In 1980 Theresa and her brother James traveled to Korea to shoot footage for Theresa's proposed
film "White Dust From Mongolia." The film was never completed. Bernadette Cha (Theresa's
sister) notes Theresa had difficulty in Korea shooting the film. Local authorities were suspicious of
the cameras. Bernadette suggests Theresa as a result planned to publish a narrative book of
"White Dust From Mongolia" then complete the film."
Amongst these archival remains, then, voices intermingle, incorporating oral histories to illuminate intention.
The most substantive description for the film, White Dust from Mongolia, comes from Cha's "Idea Sketch," in which she describes two narratives in the film converging.
"In the typewritten text Cha describes the film as "a simultaneous account of a narrative, beginning
at two separate points in Time. The two points function almost as two distinctive narratives,
the "Times" overlap during the diagesis of the film and a final conversion of the two points
are achieved to one complete superimposition, to one point in Time." Narrative I "begins in
the Past, within the interior of memory itself. The memory materializes physically on the screen...
the screen is the memory projected - the viewer "sees" physically, the memory images."
Narrative II "begins in the Present, with the Telling and Retelling process of the "Recit."..
(she) is at the moment of return to retrieve events past." The two Narratives merge in the end."
One of the storyboards seems to animate such a sequence:
while the more detailed "Idea Sketch" elaborates the possible images:
14. As two women continue their exchange, (the partition of
gauze curtain removed), and the shadow projection is changed. the figures are
seen without the silhouettes, there is no camouflaging. images begin to appear
behind the two figures, and gradually the women fade out and only the images
are left.
– the image becomes larger (cls to the image projected)
– larger still until the image takes over the whole room – Memory.
projection takes over completely
the complete transference- trans-
immigration of image and memory
–portraits in studio windows-busan
–airplane
–railroad tracks
–inside the train
–family photo geneology
in/out of White of single images until two images simultaneously superimpose and become one image.
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