How do I make a documentary that dispels the relevance of the term ‘documentary’? This is a question that seems to pulse through Trinh T. Minh-Ha’s work, most notably in her seminal film Surname Viet Given Name Nam (1989).
LaToya Ruby Frazier’s ‘The Notion of Family’ (2001-2014)
The camera’s capacity to act against the intractable march of time, the “slow deterioration” of Frazier’s family and town, is enabled in large part by her method of working, through the years-long, collaborative relationships Frazier establishes with her photographic subjects.
Ann Hui
“Hui is too versatile and too prolific to be pinned down, labeled, or marketed but too prominent to be “discovered.””