Name Instructor Course Date Fake Fruit Factory: An avante Garde experimental film Introduction In Fake Fruit Factory Chick Strand exposes viewers to the experience of women in a factory who construct paper-machetes and vegetables. The film has close-ups that are supported by the sound of women selling their wares to both domestic and international sounds. The thoughts and conversations of these women expose the viewer to their unique sexual experiences and their engagement at work. The approach also reveals the food that they embrace and provides a window into the aspirations of members of the community. Ethnographic elements introduce authenticity to a movie and support the storytelling process (Rony 99). The movie has sought to stick to the music values food and way of life that is characteristic of the Mexican society. As a result the avant grande has been critical in advancing the women’s story. The Mexican women a unique appreciation of the needs of the people. It has captured the experiences that they go through and their hopes as well as experiences. In the ethnographic perspective viewers are exposed to the unique value systems and attitudes that distinguish the Mexican society. The Avant Grande approach has been effective in centering the movie within the local culture. It adheres to ethnographic integrity and supports the storytelling that is captured in the movie. The movie has provided a clear illustration of life for the ordinary Mexican women in the country. Consequently the approach is instrumental in developing an in-depth appreciation of the value systems that define human experiences. Works Cited Doanne Mary Anne. The Voice in the Cinema: The Articulation of Body and Space Yale French Studies vol. 60 1980 pp. 33-50. Rony Fatimah T. The Third Eye: Race Cinema and Ethnographic Spectacle. Duke Univ. Press; Durham. 1996. [...]
Chick Strand’s Fake Fruit Factory (1986) [vimeo.com/10012466] is a film that can be situated in multiple strains of the avant-garde: 1. Maya Deren’s concept of film poetry 2. Structural film’s emphasis on formal rigor and attention to the material of film (David James) 3. Creative uses of sound and image relationships (Mary Ann Doane and Michel Chion) 4. An experimental documentary mode that blends representational art with metacritical form (Allan Sekula) 5. A critical ethnographic mode (Fatima Tobing Rony) In your essay, discuss two of the above strains as they pertain to Fake Fruit Factory. You should develop a strong argument that not only discusses each of these traditions in turn, but links them together in a meaningful way. How might these two categories, as they come together in Fake Fruit Factory, relate to each other? Your papers should include specific citations from the theorists mentioned above, and your discussion of their ideas should demonstrate comprehensive understanding of their positions and the contexts in which they were intervening. It is recommended that you visit the Harvard Film Archive page on Strand to become better acquainted with her work: http://hcl.harvard.edu/hfa/films/2016marmay/strand.html. Though it is not required, you may use outside research. Your essay should also contain close formal analysis of the film, i.e. specific examples of shots, framing, duration, sound, and/or other technical aspects to support your points. Finally, please follow proper citation guidelines according to either MLA or Chicago guidelines.