The Michigan Daily - Thursday, March 30, 1989-- Page 9

Into Africa
Trinh T. Minh-ha's Spaces examines village life

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BY MARK SHAIMAN
TRINH T. Minh-ha may sound like an uncommon
name, but that's okay because she's an uncommon
filmmaker, working in that realm known as experi-
mental cinema. Tonight her film Naked Spaces: Liv-
ing is Round (1985) will be presented as part of the
Yon Barna Memorial Symposium on Avant Garde
Cinema, and like the other works in this series, it
promises to be an interesting alternative to commer-
cial film.
Naked Spaces is "a poetic exploration of the
rhythm and ritual life and the interrelationship be-
tween people and their living spaces in the rural, tra-
ditional villages of six West African Countries." This
may seem to be a conventional documentary or
ethnographic film, but Minh-ha has utilized a non-
linear structure so as to defy expectations and provide
a unique look at the societies upon which she fo-
cuses.
In order to introduce and help interpret the film,

B6rdnice Reynaud will be present. Reynaud is the
East-coast correspondent for Cahiers du Cinema, the
most important film publication in the world. And
she is familiar with the works of Minh-ha, thus able
to give a perspective based on more than just this
evening's showing.
Still, there will be plenty to contemplate after the
film. Minh-ha thinks "in terms of raising conscious-
ness," and comments that after seeing Naked Spaces,
viewers "have said they realize how much they have
lost contact with their environment."
In the film there are three distinct voices speaking
in turn: the first represents the African peoples, the
second represents Western viewpoints, and the third is
Minh-ha's own thoughts. Expressing these varying
opinions forces the viewer to think about each and
come to one's own conclusion. So come prepared to
be challenged by a film, not merely entertained, and
to see the potential that cinema has to affect people.
NAKED SPACES: LIVING IS ROUND is being
shown at 7:30 p.m. at Lorch Hall. Admission is free.

two-f a rc
productic
If you're interests
out what it takes to
wood Award, step c
hind your keyboarda
of crumpled first draf
live demonstration t
as the Residential C
erq e'rform wrks r

Sthessils
Continued from Page 8
tional Hiroshima. This is what your
post-rejection heart would say if it
spoke in decibels instead of palpita-
e rs tions.
Despite their current tour (or
e d maybe because of it), rumors persist
that the band is about to break up.
o n Recent live shows have featured on-
ed in finding stage pyrotechnics that involved
w in a Hop- more than just Mascis' ozone-melt-
wut from be- ing guitar. Intra-band fisticuffs appear
and your pile to be part of the band's nightly rou-
fts and see a tine, as exampled by an incidentcap-
his weekend, tured in a brief concert clip used by
.ollege Play- Sonic Youth in their "Teenage Riot"
b tw H? - video where Mascis turns around and

takes a pugilistic poke at Barlow
(who has just signed a record deal for
his own solo project). Compounding
the boxing is the bizarre anecdote
(reported in several fanzines) that had
drummer Pat Murphy quitting/being
thrown out of the band, suing his
bandmates for back wages, then be-
ing reinstated. The moral of the story
is, if you've ever entertained
thoughts of seeing the band live,
now would be the time, 'cause just
like Seals and Crofts, they may never
pass this way again.
DINOSAUR JR. will perform at the
Beat tonight. Cover is $10. Bring
industrial strength earplugs and a
razor to shave Martin's 'stache.

pQ y pIIIIII V.inZ JJ t v e
wood-winning student writers.
The two one-act farces,
Daphne, written by Lisa Wing,
and Mother and the Criminals,
written by Louis Charbonneau,
will be performed this and next
weekend, Thursdays, Fridays,
and Saturdays at 8 p.m.
The Players describe Daphne
as "a wacky farce about mistaken
identities" and Mother and the
Criminals as "a mad anarchic farce
about money, murder, violence,
and equally violent justice." The
works are directed by Beth Ar-
man and Kate Gordon, and
Stephan Vernier respectively.
Admission for all performances
is $3.


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- --.M 6b -

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Oscars
Continued from Page 1;
More than 1,500 early-bird fans,
many armed with sleeping bags and
food, packed bleachers yesterday
outside the glamour and glitz.
By 9 a.m., all the seats had been
filled in the stands facing the four
24-foot Oscars that guard the Moor-
ish arches at the entrance to the
Shrine Auditorium.
"Dustin Hoffman is my favorite,"
said Eric Anugraham, who had flown
from Dallas to photograph the ar-
rivals from a front-row seat in the
bleachers. He arrived at the Shrine at
6:30 a.m. Tuesday to win his posi-
tion.
Richard Johnson, a private secu-
rity officer, estimated 300 occupied
the stands when he arrived at 6 a.m.
yesterday. "It's crazy," he observed,
"but no crazier than the people who
wait all night for the Rose Parade."
ABC provided live television
coverage of Hollywood's annual
tribute to itself.
Though Hoffman was widely ex-
pected to capture his second Oscar -
his first was for Kramer Vs. Kramer
in 1979 - the race for Best Actress
was wide open.
Melanie Griffith, the corporate
Cinderella of Working Girl, and
Jodie Foster, the victim of a gang
rape in The Accused, were generally
considered front-runners, but many
believed this might be the year of
Oscar surprises. The other nominees
were Glenn Close, as the scheming
French aristocrat in Dangerous Lia-
sons, Meryl Streep, as the loving
mother accused of murdering her
baby in A Cry in the Dark, and
Weaver as the zealous naturalist in
Gorillas in the Mist.
Competing with Rain Man for
the best picture nod were Dangerous
Liasons, Working Girl, Mississippi
Burning, a controversial look at the
murders of three civil rights workers,

and The Accidental Tourist, the bit-
tersweet story of a repressed travel
writer who falls in love with a free-
spirited young woman.
Other Oscars awarded at press
time included:
- Sound: Les Frescholtz, Dick
Alexander, Vern Poore, and Willie
Burton, Bird.
- Music Original Score: The Mi-

lagro Beanfield War.
o Music Original Song: Carl
Simon, "Let the River Run."
With yesterday's ceremonies, th(
Academy dropped the traditional lin
"And the winner is..." in favor o
"And the oscar goes to...", to softe
the sense of competition. There wa
no indication of whether the chang
left the losers feeling any better.

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Let Them Know
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