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Good Luck Soup

This morning, I came across the interactive documentary Good Luck Soup. I want to spend some more time exploring it tomorrow. Here are some sources:

After spending just a minute skimming the story bench article, I’m excited to read more about how/why the creator, Matthew Hashiguchi, created the interactive documentary to complement his traditional, feature-length documentary. He writes:

While I continued to work on the documentary film about my family, I discovered many unique stories on the Japanese American and Japanese Canadian experience that didn’t fit within the single narrative of my family. So I created the interactive web experience for people like myself and family members to share their own stories and experiences as Japanese Americans or Japanese Canadians.

Matthew Hashiguchi

it’s not objective history…

…it’s memory

This morning I listened to most of Mary Karr’s interview with Terry Gross on FRESH AIR. I was particularly struck by this line:

You know, this is my point of view. It’s not objective history. It’s memory, which is a – you know, a faulty form in terms of reportage, but which has the added advantage of showing my interior while something is happening. So hopefully a memoir shows lived experience, not surface reporting.

Mary Karr

Source: Mary Karr on Writing Memoirs

Confessional Writing

Over the past few days, I’ve encountered several online discussions about confessional writing. I hoped to write a blog post today in which I put some of the key ideas from these discussions into conversation with each other. But now, with only a few minutes left before my daughter gets home from school, I must concede defeat. I’ve hardly begun the post.

I’m struggling to put into words why discussions about confessional writing matter to me. I know it has something to do with all of my pre-dissertation research and writing on the importance of personal experience within feminist theory. Conversations abut confessional writing and the benefits and drawbacks of using personal experience are so central to my introduction to feminism in college that I don’t know where to begin writing about them here.  

So, I’ll stop trying. Instead I will just archive the essays here in the hopes that I can return to them tomorrow…maybe after a good head-clearing walk?

In addition to reading these carefully, I want to put them into conversation with this blog post: On Empathy.

Short of the Week

Last winter, Short of the Week redesigned their site. I came across it this morning. Pretty cool. Here’s something that they posted about the new design: Welcome to the New Short of the Week!

I really like how it looks and functions, both on a laptop and the iPhone:

SOTW4-laptop-home SOTW4-iphone-channels

I especially like that when you pause the movie, a brief description of the film and a link to a longer description pops up. And I like the horizontal strips. Are these stripes better than a grid for videos? Not sure. They seem a bit trendy and are pretty big on the screen. I think I’ll show this site to STA and get his opinion.

 

Bread

I really enjoy the interactive stories from the National Film Board of Canada. I’ve analyzed many of them on this blog. Today I checked out Bread: A common story that connects us all. Here’s the description:

Artist and social innovator Mariette Sluyter’s Bread opens the oven door on the practice of baking bread and highlights the way it connects to our cultural emotional wellbeing. An experiment in human connectivity and interactive storytelling, Bread allows us to take a peek into the lives of six older women from very different backgrounds, all of whom share a passion for bread making.

 

Bread focuses on six different women who bake bread. You can watch a video of each of them baking bread and telling a brief (3-5 minute) story about their lives in voice-over. You can also read their bread recipes. So far, I’ve watched the videos and read the recipes for 3 out of the 6 women.

This project is very compelling. Both the theme and the structure of the project aren’t overly complicated. Full screen videos of six different women baking bread in their homes + voice-over narrations about their life. The main page is a grid of images of six kitchens. When you scroll over the kitchen, a picture of the woman who bakes in that kitchen appears. Click on her, and a full screen video of her baking starts playing. At the top of the video screen are links to the break recipe and “all stories.”

I like how the video combines silent footage of the women baking bread with background music and voice-over from a separate interview. As I write this last sentence I wonder, How does the choice to mute the kitchen scene, both the sounds of the baking and the women themselves, shape the story? How would we experience the story differently if we could hear those sounds? Does muting the actual noises of baking disconnect us from the physical process of making bread? Would it be possible to create a video project where you gave the audience the choice of hearing the kitchen noises…and maybe even some of the raw footage of the interview?