Bibliography

Films

Bakker, Jaqueline.(2001)Changing paths: female circumcision in Mali. Mali: Fatusch Productions.

Joahansson, Mats Billberg. (1999) Hedersmord. Jordan: Sveriges Television (SVT)

Keshavarz, Maryam (2005) The Color of Love. Iran: Marakesh Films.

Osbourne, Ellen and Maureen Gosling. (2000) Ramo de Fuego. Mexico: New Yorker Films

Peled, Micha X. (2005) China Blue. China: Teddy Bear Films and the Independent Television Service (ITVS).

Salas, Laura and Tamaryn Nelson. (2005) Dual Injustice: feminicide and torture in Ciudad Juarez and Chihuahua. Mexico: Comisión Mexicana de Defensa y Promoción de los Derechos Humanos and WITNESS.

Weyer, Hannah, Jim McKay, & Hannah Weyer. 2000. La Boda. United States: C-Hundred Film Corp. Women Make Movies.

Print Resources

Ferguson, Ann. “Resisting the Veil of Privilege: Building Bridge Identities as an Ethico-Politics of Global Feminism” Decentering the Center: Philosophy for a Multicultural, Postcolonial, and Feminist World. Uma Narayan and Sandra Harding. 2000 Bloomington. Indiana University Press. 189-207

Jaggar, Alison M. “Globalizing Feminist Ethic” Decentering the Center: Philosophy for a Multicultura, Postcolonial, and Feminist World. Uma Narayan and Sandra Harding. 2000 Bloomington. Indiana University Press. 1-25

Mason, Carol. “The Hillbilly Defense: Culturally Mediating U.S Terror at Home and Abroad”. NWSA Journal. 2005 Vol. 17 No. 3

Narayan, Uma. “the Essence of Culture and a Sense of History: A Feminist Critique of Cultural Essentialism” Decentering the Center: Philosophy for a Multicultural, Postcolonial, and Feminist World. Uma Narayan and Sandra Harding. 2000 Bloomington. Indiana University Press. 80-100

Okin, Susan Moller. “Feminism, Women’s Human Rights, and Cultural Differences” Decentering the Center: Philosophy for a Multicultural, Postcolonial, and Feminist World. Uma Narayan and Sandra Harding. 2000 Bloomington. Indiana University Press. 26-46

Stern, Maria. “’We’ the Subject: The Power and failure of (In) Security”. Security Dialogue. Vol. 37(2): 187-205.

Vickers, Jill. “Feminists and Nationalism.” Gender, Race and Nation: A Global Perspective. Vanaja Dhruvarajan and Jill Vickers. 2002 University of Toronto Press Inc. 247-272

Vickers, Jill. “Thinking about Violence.” Gender, Race and Nation: A Global Perspective. Vanaja Dhruvarajan and Jill Vickers 2002. University of Toronto Press Inc. 222-246

The Transnational Lens Journal

Hello everyone,

While viewing and reviewing these films I kept a journal. I have copied my entries into a seperate blog that you can find it at http://transnationallensreflection.blogspot.com/.

Enjoy

La Boda -- Migrant Working women

In an intimate portrait of migrant life along the U.S.-Mexican border, Hannah Weyer’s new film LA BODA delves into the challenges faced by a community striving to maintain their roots in Mexico, while pursuing the “American Dream” across the border. Weyer’s camera follows Elizabeth Luis during the weeks before her marriage to Artemio Guerrero, interweaving the anticipation of the upcoming wedding with candid stories that explore the architecture of the Luis family. For 22-year-old Elizabeth, migrant life has meant shouldering responsibilities beyond those of an average young adult. Along with her seven siblings, she has contributed to the family income throughout her adolescence and young adulthood, often forced to sacrifice school for fieldwork and social life for travel as she and her family move between Texas, California and Mexico. LA BODA tells the timeless story of a young woman’s coming of age, while also confronting negative stereotypes of the migrant community with the real life biography of a Mexican-American family bridging the gap between countries and culture. --http://www.wmm.com/filmcatalog/pages/c493.shtml

Upon first viewing this film is primarily about Elizabeths wedding. It is very easy to get lost in the preparation, and what may be very different traditions that these migrant workers have. What we do learn through the interviews is the way in which this family and many like it have dealt with the hardships of the migrant lifestyle. We learn of the unfortunate trend of children of migrant workers quitting school to work with their parents. Through Elizabeths mother we learn of the cultures use of a communal lifestyle to keep afloat. During the off-seasons the family lives off the money made during the migration and what ever jobs they can (but often don't) get in a town with hundreds in the exact same boat. In this group a sense of cultural essentialism is promoted and very important to the lively hood of the families. One aspect that really stood out was Elizabeth's joy in finding a man from Nuevo Leon (her families home in Mexico) she felt that it was 'right.' During one scene Elizabeth also talks about her experiences in High School in California, it is evident that she never felt at home. So despite the fact that she is a U.S citizen Elizabeth does not seem to feel a conection to this country. Elizabeth is not overly emotional in the film however her sadness about the way migrant workers are treated and must live is evident. As I mentioned in my personal reflection journal entry this film is by far the hardest for me to review, it just hits to close to home.

China Blue

Globalization and the Denim factories in China


Like no other film before, China Blue is a powerful and poignant journey into the harsh world of sweatshop workers. Shot clandestinely, this is a deep-access account of what both China and the international retailers don't want us to see: how the clothes we buy are actually made.
Following a pair of denim jeans from birth to sale, China Blue links the power of the U.S. consumer market to the daily lives of a Chinese factory owner and two teenaged female factory workers. Filmed both in the factory and in the workers' faraway village, this documentary provides a rare, human glimpse at China's rapid transformation into a free market society.—Blue frog Films, http://www.bullfrogfilms.com/catalog/china.html

While this film is primarily about the sweatshops of china, the film follows one girl, Jasmine, as she leaves her village town to work in a denim factory in the city. The factory that she works at is better than many of the others. The factory she is at has many clients and works based on individual orders placed by those retailers, other factories belong to one brand retailer, and no cameras are allowed in those factories, the film is able to find some employees of those factories willing to talk, cameras are snuck into the housing area and the interviewees are often in shadow and their voices manipulated to protect their anonymity, because just talking to the film crew is a violation of National Security Law. We are also introduced to Orchid who because she learned specialty sewing works (usually) less hours than Jasmine, by less I mean she usually only has to work the a 10-12 hour shift. Liping sews zippers and has a fake ID, because she is only 14 years old. Jasmine is put to work cutting loose threads and often work 8am until past midnight. Then of course there are the days when an order is due and she has to work a 16-20 hour shift. Life in the factory is hard. Jasmine assumed that the factory would provide meals, but she learned that was wrong. Her pay is also deducted for each gallon of hot water she needs, housing, and numerous fines, which can be deducted for something as simply as laughing or talking with a co-worker.

We are also introduced to the owner of the Lifeng factory; Mr. Lam. Mr. Lam is a former police chief turned factory owner who feels that a good slogan can motivate even the laziest of workers. Mr. Lam fully admits that as a police chief he had to work within certain boundaries but he says that in business “I will do whatever it takes to make money.” And he does, he lowers the pay rate and delays the payday over two months. And even then the workers are only paid after some gather around the upstairs offices and demand pay and do not report for work. Striking is illegal, however Mr. Lam has a deadline to meet and he offers to pay right after they ship the latest orders, which means another all night of working. Before we place all of the blame on Mr. Lam though, we must remember that earlier he had a meeting with a British retailer who threatened to get his denim somewhere else unless the price was lowered. Mr. Lam then agreed to make the jeans for $4-$4.1 dollars. The retailer must know that only one dollar of that goes to labor cost and it doesn’t take a math genius to know that the workers are not being paid the minimum wage and overtime does not even enter the conversation. When describing the rules of the factory Mr. Lam explains that his workers come from the villages and are backwards and illiterate (despite the fact that the bulk of the dialogue is a voice over narration of Jasmines journal) and you cannot simply teach the employees a work ethic. “It is beyond them.” Mr. Lam also perpetuates stereotypes of the poor villagers (Hillbilly defense, anyone?) when he insists that the migrant workers are generally unlawful and would “kill for a few dimes.”

Inspector Dr. Liu Kaiming speaks frankly of how easy it is for the factories to get around the inspections. First the factories are never get a surprise inspection, they have time to prep and teach their employees what to say. The factories also have two sets of time cards, the real ones the workers use and fake ones security guards enter to show a lower amount of hours worked per week. Also the employees are forced to sign a different pay stub that reflects a higher wage, or they will not get their (much lower) pay. Dr. Kaiming also explains that the inspections are just a game to retailers; they only do them to reassure their consumers not to actually improve conditions of the factories. Yang Ching, a former factory manager, who was fired after she became pregnant, backs up Dr. Kaimings findings by describing how she herself did those things to her workers.

As Chandra Mohanty explains in “Feminisms Without Borders” the ideology behind gendered work is a huge part of how and why these factories, the government, and the retailers are able to get away with this horrible violation of human rights. Dr. Kaiming asserts that the use of women, village women, is beneficial to the factory owner because of their ‘docile’ nature, and the fact that most of them are working to send money home. A hint of violence is shown in the film during the confrontation between the female worker sand Dr. Lam (when they refused to go back to work). Mr. Lam says to not work is to be in a fight with him, Orchid calls out “do you mean you will beat us?” The question is never answered and Mr. Lam quickly works out the compromise detailed above. I certainly felt that the threat of violence is used, even in Jasmines voice over we learn that resignations are rarely granted, that the boss would not let me leave, etc. The idea of violence being threatened is valid and a certain possibility. There is a postscript at the end of the movie that details the detention of the film crew, their interrogation and confiscation of some tapes and contact with Jasmine and the other workers was terminated. It is obvious that this problem is larger than just the factory, and Mr. Lam. What these large retailers have been allowed to do in this and other countries is deplorable and unlawful. People should not be shocked when realizing that this is just not one evil company, the wal-mart factories are mentioned, Levi, Jordache, Phat Farm, and other labels are clearly visible in certain shots. What corporate capitalist globalization has done to the factory workers for the sake of profits is inhuman.

Dual Injustice: Feminicide and Torture in Ciduad Juarez and Chihuahua

Women's Rights as Human Rights:

Although Chihuahua's Attorney General has referred to the problem of murders of women as a "myth," a large pink cross filled with embedded nails and hanging nametags for each a victim sits in front of the Governor's office to remind authorities of the soaring numbers. In 2004, 31 women were brutally killed in Ciudad Juarez and Chihuahua, which represents a 58% increase compared to 2003. In January to March 2005 alone, six bodies have been found so far. Meanwhile, those tortured to confess to the murders sit in jail. --http://www.witness.org//index.php?option=com_rightsalert&Itemid=178&task=view&alert_id=38


This film is a almost perfect example of the mounted opposition to the advancement of women's rights to human rights. In this film we learn the story of Neyra Azucena Cervantes and her Cousin David Menza. Neyra was abducted in Chihuahua City. The police were useless for a month before they even began to post missing posters of Neyra. When David became heated with the Attorney General and challenged him, he was told that they would have a culprit very soon. A week later David was arrested for abducting, raping and killing his cousin.

Within recent years many have become aware of the violent killing of women in Juares and Chihuahua. This has been referred to as feminicide and has shined a spotlight on Mexico’s corrupt judicial system, lay enforcement, government and has also lead to some of the worst crimes against women by a nation. These women are trying to be erased. The Mexican authorities have been wrong, have tried to cover up their mistakes, and because of this there latest attempts have been to torture confessions out of men and falsify evidence to close cases. This is what happened in David Menza case, he was tortured with electric shock into signing a confession. What makes their actions in this case much more ridiculous s is the fact that David was in Chiapas, over one thousand miles away, when Neyra went missing.

This is a case of an entire nation trying to dispose of these women, erasing their stories of the local media and making all women invisible. Rather than admit that the authorities have made mistakes, somehow they feel that it would be easier to cover everything up. The women of Juarez and Chihuahua mean nothing. Many things have been attributed to these killings, the factories and their lack of safety, the excuse of women running around ‘asking for it,’ and on and on. This film does not deal with the causes so much but with what happens afterwards. There is already this huge risk to women in these cities but even after the violence the family and friends of the women are further subject to violation of their human rights. Despite the awareness of these crimes, it seems as though many, both in Mexico and not, tend to view violence towards women as a problem in the private sphere. As Jill Vikers explains in “Thinking about Violence” in the book “Gender, Race and Nation: A global perspective” women also experience violence in a broader range such as genocide. That is what is happening in Juarez and Chihuahua.

Blossoms of Fire: Gender and Cultural Essentialism

Author Elena Poniatowska described the legendary women of Juchitán, a city in Oaxaca, Mexico, as “guardians of men, distributors of food.” Artists like Miguel Covarrubias and Frida Kahlo celebrated their beauty and intelligence. Blossoms of Fire shows them in all their brightly colored, opinionated glory as they run their own businesses, embroider their signature fiery blossoms on clothing and comment with angry humor on articles in the foreign press that flippantly and inaccurately depict them as a promiscuous matriarchy. The people interviewed in this film share a strong work ethic and fierce independent streak rooted in Zapotec culture. http://www.maureengosling.com/ramo/about/about.html

It is true that this film has its flaws, the story is often too surface, failing to delve deeply into any one persons life to much preferring instead to include interviews by a larger diverse group. This is both a positive and a negative. There are moments in the film when a interviewee is abandoned just when it seems that a deeper revelation was near. On the other hand we not only hear from the Zapotec market women, we hear from midwives, husbands, children, anthropologists and are even introduced to writing of the Zapotec women written by artists, historians, explorers, and musicians. In the town of Juchitan in Mexico men and women have been regarded as equals since preColombus. The films begins with a scandal, Spanish Elle had recently published a story of the Zapotec women painting them as living in a Matriarchal utopia that oppressed men, the women were said to take their husbands money and leave them to babysit while they drank and had sex all night. While it is true that eh Zapotec society can seem matriarchal, it is far from what was described above. It is true that the women are the financial keepers, both men and women agree that the women are better at thinking of the future, saving for a rainy day. Also the misconception that the men did not work was also clarified, the men do work and quite hard, they usually work in farms or as fisherman and in town. I believe the misconceptions spring mostly from the fact that in this culture the women and men, in most cases seem to stand side by side. Women run many of the businesses, are highly independent, and are deeply involved in the politics of the region. The women work hard and play hard, but so do the men. One quotes stands out a women described their culture as not seeking riches, just enough for the essentials, food, education, and fiestas. She quickly though explains that the fiestas are not for the purpose of partying, they are used as a way to continually promote a unity between the people with fiestas often being 'sponsored' a a few people in the town and others chipping in, with food, drink, decor, etc. These celebrations are about celebrating the fact that the town stands together.

It is funny to think about how a town in which equality and support among the sexes is the norm that the outside world would see it as a matriarchal town run by loose, evil women. Why can the world just accept a culture in which women are celebrated for their contributions and respected as an integral part in the family unit, not just a a breeder and nurturer, but also as a provider? Not just that there is a strong sense of collaboration with these women, the days after the Elle magazine came out a group of the Zapotec women went to a man selling the magazine and forced him to stop selling the magazine. While this act can be seen as legitimizing the quotes in the magazine, we hear from the women involved that the protest was not just for the sake of the women but for the entire village, they did not want the world to think that the men in the village were less than.

Another portion of the film explores the towns almost unanimous acceptance of the homosexual and transgendered community. While I appreciated this information, I felt that that aspect could have been a film unto itself. Both gay males and females discuss their various experiences, some did experience some disappointment from family members but that in almost all the cases went away with time. In fact one gay man describes a saying that Zapotec women having, they express that they want at least one gay or muxe (transgenders, or drag queens, men with female qualities) son because often that is the child that stays home and/or provides for the mother until she dies. There are interludes in which colonialism and the effects of globalization on indigenous cultures are discussed. Juchitan and the Zapotecs have long been anti-Mexican government and both men and women have physically fought against it. The effects of globalization are briefly acknowledges both with visuals and interviews however the Zapotec women assert that the traditions of their culture will not be lost. In fact we see the women actively continuing to teach the indigenous language of the Zapotecs.

The faults in this film from a TF perspective lie in the insistence of gender and cultural essentialism. Where is this not the case is the acceptance of the transgendered community (for the most part). Just because the women in this town enjoy a culture that promotes their status within the community does not mean that they do not choose to live their live by very rigid rules of what is expected of them.

As a whole the film is good, I could have done without the voice over narration by the director however the inclusion in indigenous music as the soundtrack to the film was absolutely the right decision. The reading of quotes describing the Zapotec people was also a good choice providing the audience with a historical framework.

Honorable Murders

Produced by Films for the Humanities and Sciences


Synopsis: In many Middle Eastern countries, honor is so highly prized that it is considered more valuable than life itself. This program examines the code of conduct that makes each woman a sacred vessel of her family’s honor—and the practice of atoning for any family member’s breach of that code with her blood. Scholars, judges, and clergymen discuss the culturally sanctioned practice of "honorable murder," while fathers, brothers, and mothers talk about the communal pressure to adhere to the honor code and how the loss of daughters and sisters has affected their lives. Interviews with some of the "lucky" ones—women who were imprisoned rather than executed—are also included.
-- http://www.films.com/id/10757/Honorable_Murder.html


Deeply disturbing, informative, and moving. This film does not hold back. The film is filled men who explain their stance on ‘honorable murders’ which for the sake of my own sanity I will only refer to as murder from now on. Let us start with the title “Honorable Murder” I understand the producers need to have a title that will draw an audience. This title definitely does that. The phrase can be problematic though, the men who carry out these murders have been given less jail time (if any) and have even been esteemed for their willingness to do whatever it took to clean their honor. We are introduced to men who are currently (1998) in jail in Jordan for carrying out these crimes. One of these quite calmly states that the sister he shot was his ‘favorite’ because she was most like him. The reason for her death was that she was raped. The mans interview is cross cut with an interview with his mother and father. The father admits that his son what had to be done. As he walked the street he was taunted by others about his sister, he could finally not take it and knew what had to be done. The interview with the mother is very emotional with her explaining that her daughter knew what was coming and accepted it even though her mother tried to shield her from it. The mother also raises her raises her voice in anger and points out to her husband that they are still taunted by others, even though her son killed her daughter. The father shrugs admits that that is true but that the taunting has lessened a bit. The audience is also introduced to a doctor and a judge. The doctor describes how he has often had families bring in their daughters to examine them after a rape. In a few weeks the girl is brought back this time taken to the morgue. The judge also expresses his opposition of the act however he stresses that a judge all he can do is carry out the sentence, it is the politicians who make the legislation and who are to blame for the ridiculously low sentence of 6 months maximum. The film also includes a scene of a wedding of a for affluent Jordanian family while the judge speaks about the governments inconsistencies in its representation of its stance on women’s rights and its actual legislation, which as mentioned earlier allows for these crimes to be committed with little to no consequence. Like in Changing Paths a religious leader is also interviewed to explain that while there is an incident of honor murder in the Qur’an that subsequent passages make it clear that this practice is not supported by Islam. The religious leader was visibly upset at the use of religion to excuse the murders.

The representation of women is diverse. We are introduced to victims of this crime through photos and interviews from friends and families. The audience also learns about the government’s practice of placing survivors of murder attempts in prison as a way to protect them from murder. One of these women tells her story of how her she was shot 12 times by her brother. While keeping this woman in jail is keeping her alive it is far from a logical and human solution to this problem. A truly heartbreaking scene follows this woman’s story which includes a voiced over narration of her father and sister vowing to kill her if she was ever released. Finally we are introduced to a woman who was forced into a marriage, and beaten by her husband. This story included interviews with this woman’s father who expresses his regret for his part in the situation. He admits that his daughter was extremely smart and destined for an academic life. While married (to her cousin) she was allowed to go to school however it was though she would fail, she did not. She flourished and went to university and was able to become a lawyer. She was granted a divorce and has sense reconnected with her family. She now works to educate young women about the oppression of these women. She discusses how forced marriages are just a part of it; these women are seen only as property, a commodity, stock if you will. If the stock decreases in value then you get rid of it. Forced marriages, domestic violence, and murders are the outcomes of these oppressive patriarchal beliefs.

From a transnational feminist perspective this film does an excellent job of representing the culture and theory surrounding these murders, it also includes religious fundamentalism, class and education level as possible reasons for the ability to continue this practice. However I wish the film would have delved deeper into the role of the cultural elite politicians in this practice.

Women's Human Rights

Changing Paths Female Circumcision in Mali
Directed by Jacqueline Bakker for Fatusch Productions


This film focuses on the African country of Mali. In Mali roughly 93% of women are circumcised. This film explores the long held tradition which is determined a patriarchal hierarchy and unquestioned respect (read: obedience) of ancestors. This film follows Astan Diallo her work for Amsopt, a local NGO that seeks to end the practice of female circumcision. Ms. Kadidia Sibide the president of Amsopt is also introduced. Astan Daiallio travels to villages in Mali and with Ms. Sibide meets with village leaders, elder women, and the young people of the villages to try and begin the process of ending the practice in that village. The process is broken down into steps, it usually takes Amsopt 3-5 years to end female circumcision in a village. The workers are always talking to the young people of villages; however the process must always begin at the top which in Mali is with the male leaders of the village. The group asks for their permission to educate the young people and to test the health of two couples of child-bearing age. The elder women are then spoken to, elder and younger women and men are then educated using pictures and life size dolls, finally the group talks to the youth of the villages.

In the film Diallo takes us to villages in different stages of ending the circumcisions. The film ends with the promise of education in one village, and a celebration in another village of ending the practice. Amsopt works within the village on all levels. The forms of oppression are multilayered with the younger women believing the practice to be enforced by the elder women, “because they say so,” and the elder women are open about their enforcement of the practice but also admit that they do so because the “male leaders says so.” The elders admit that the circumcision is said to keep a women sexually controlled and ‘clean’ however even they are unsure how or why this is, it has always just been. The leader of the village attributes Islam as the source of the practice. However the filmmakers interview a high ranking Imam who has devoted his life to studying the Qur’an and explains that this has been a misconception perpetuated by patriarchal leaders in villages for hundreds of years. The Imam in fact has also devoted time to helping Amsopt in educating the male leaders in the villages on what Islam says about the practice.

The work shown in this film follows what Susan Moller Okin calls for in her article Feminism, Women’s Human Rights, and Cultural Differences. Female circumcision is often only recognized as a in issue in the private sphere of family and justified by the cultural traditions of that space. This film avoids the trap of the ‘outside’ critique by using Diallo, a woman born and living in Mali and the NGO Amsopt as its critic. Diallo and Sibide approach the villages following the customs of that village, they know the customs because they live there. In their education they use different styles when teaching men and women to avoid any perceived disrespect from the village men all the while stressing the truth that the circumcisions a human rights violation and that they are, by way of continuing the practice, aiding in the sickness, and death of many women and children. They use life size dolls and real circumcision pictures. All of these things help the audience become aware of the issue but also does not allow for a ‘we should ride in and save them’ response. Amsopt is doing well, they do not compromise their goal, to end circumcisions, but they do work with the villages in ways that they would be more receptive to.



Okin, Susan Moller. Feminism, Women’s Human Rights, and Cultural Differences. Uma Narayan and Sandra Harding. “Decentering the Center: Philosophy for a multicultural, postcolonial, and feminist world.” Bloomington. Indiana University Press. Pg. 26-46

Films to be reviewed and discussed

Below is a list of the films I will be reviewing in this blog. The list is subject to additions.

The other side of burka

dir. Mehrdad Oskouei

Dual injustice : feminicide and torture in Ciudad Juarez and Chihuahua

by Laura Salas and Tamaryn Nelson

China blue

Micha X. Peled

Hedersmord = Honourable murder

Mats Billberg Johansson

Changing paths : female circumcision in Mali

Jacqueline Bakker

Beyond borders--: Arab feminists talk about their lives

directed by Jennifer Kawaja

Blossoms of fire= Ramo de fuego

Ellen Osborne, Maureen Gosling

La Boda= The wedding

The Transnational Lens Objectives

Site Objectives:

• Review Documentary films within a Transnational Framework.
• Discuss the power of representation and how it used and abused by documentarians.
• Applying TF theories to older documentaries, the films themselves do not need to take a Transnational Feminist stance, I however, will and will suggest how the film fails or succeeds in providing the audience with a TF understanding of these women’s lives.
• I will also point out if and when it seems as though the filmmaker is displaying the women in the film as so ‘alien’ that we can only observe their foreign lives but not feel at all connected to them.
• Discuss how the filmmakers approached the film, their editing choices, decisions on music, etc.
• Finally I would like to address the ways in which the medium of film can be used to further the causes of Transnational Feminists.