Trinh T. Minh-Ha – författare

" . . . methodologically innovative . . . precise and perceptive and conscious . . . " —Text and Performance Quarterly"Woman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." —Chandra Talpade Mohanty"The idea of Trinh T. Minh-ha is as powerful as her films . . . formidable . . . " —Village Voice" . . . its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." —Artpaper"Highly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." —Religious Studies ReviewAudio book narrated by Betty Miller. Produced by Speechki in 2021.

Winner of the 2012 Critics Choice Book Award of the American Educational Studies Association (AESA)World-renowned filmmaker and feminist, postcolonial thinker Trinh T. Minh-ha is one of the most powerful and articulate voices in both independent filmmaking and cultural politics.Elsewhere, Within Here is an engaging look at travel across national borders--as a foreigner, a tourist, an immigrant, a refugee—in a pre- and post-9/11 world. Who is welcome where? What does it mean to feel out of place in the country you call home? When does the stranger appear in these times of dark metamorphoses? These are some of the issues addressed by the author as she examines the cultural meaning and complexities of travel, immigration, home and exile. The boundary, seen both as a material and immaterial event, is where endings pass into beginnings. Building upon themes present in her earlier work on hybridity and displacement in the median passage, and illuminating the ways in which "every voyage can be said to involve a re-siting of boundaries," Trinh T. Minh-ha leads her readers through an investigation of what it means to be an insider and an outsider in this "epoch of global fear."Elsewhere, Within Here is essential reading for those interested in contemporary feminist thought and postcolonial studies.

Winner of the 2012 Critics Choice Book Award of the American Educational Studies Association (AESA)World-renowned filmmaker and feminist, postcolonial thinker Trinh T. Minh-ha is one of the most powerful and articulate voices in both independent filmmaking and cultural politics.Elsewhere, Within Here is an engaging look at travel across national borders--as a foreigner, a tourist, an immigrant, a refugee—in a pre- and post-9/11 world. Who is welcome where? What does it mean to feel out of place in the country you call home? When does the stranger appear in these times of dark metamorphoses? These are some of the issues addressed by the author as she examines the cultural meaning and complexities of travel, immigration, home and exile. The boundary, seen both as a material and immaterial event, is where endings pass into beginnings. Building upon themes present in her earlier work on hybridity and displacement in the median passage, and illuminating the ways in which "every voyage can be said to involve a re-siting of boundaries," Trinh T. Minh-ha leads her readers through an investigation of what it means to be an insider and an outsider in this "epoch of global fear."Elsewhere, Within Here is essential reading for those interested in contemporary feminist thought and postcolonial studies.

In this new collection of her provocative essays on Third World art and culture, Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, she examines topics such as Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology.When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already." She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks to "beat the master at his own game."

Framer Framed brings together for the first time the scripts and detailed visuals of three of Trinh Minh-ha's provocative films: Reassemblage, Naked Spaces--Living isRound, and Surname Viet Given Name Nam.

"An image is powerful not necessarily because of anything specific it offers the viewer, but because of everything it apparently also takes away from the viewer."--Trinh T. Minh-haVietnamese filmmaker and feminist thinker Trinh T. Minh-ha is one of the most powerful and articulate voices in independent filmmaking. In her writings and interviews, as well as in her filmscripts, Trinh explores what she describes as the "infinite relation" of word to image. Cinema-Interval brings together her recent conversations on film and art, life and theory, with Homi Bhabha, Deb Verhoeven, Annamaria Morelli and other critics. Together these interviews offer the richest presentation of this extraordinary artist's ideas.Extensively illustrated in color and black and white, Cinema-Interval covers a wide range of issues, many of them concerning "the space between"--between viewer and film, image and text, interviewer and interviewee, lover and beloved. As an added bonus, the complete scripts of Trinh's films Surname Viet Given Name Nam and A Tale of Love are also included in the volume.Cinema-Interval will be an essential work for readers interested in contemporary film art, feminist thought, and postcolonial studies.

Endless travel in cyberspace, virtual reality, and the dream of limitless speed: technology changes our sense of self. In her new book, Trinh Minh-ha explores the way technology transforms our perception of reality. "We are all engaged in social rituals in our daily activities, she writes, "and by remaining unaware of their artistic ritual propensity, we remain 'in conformity'." Her goal, as a thinker and an artist, is to transform our understanding of technology and speed so that we are able to "turn an instrument into a creative tool and to step out of the one-dimensional, technologically servile mind." The paradox that "stillness contains speed within it" is central to Trinh's concept of the digital apparatus. With her signature amalgam of feminism, Eastern philosophy, and practical understanding of filmmaking, Trinh Minh-ha presents a much-needed advance in our concept of the real in a technological age.

Endless travel in cyberspace, virtual reality, and the dream of limitless speed: technology changes our sense of self. In her new book, Trinh Minh-ha explores the way technology transforms our perception of reality. "We are all engaged in social rituals in our daily activities, she writes, "and by remaining unaware of their artistic ritual propensity, we remain 'in conformity'." Her goal, as a thinker and an artist, is to transform our understanding of technology and speed so that we are able to "turn an instrument into a creative tool and to step out of the one-dimensional, technologically servile mind." The paradox that "stillness contains speed within it" is central to Trinh's concept of the digital apparatus. With her signature amalgam of feminism, Eastern philosophy, and practical understanding of filmmaking, Trinh Minh-ha presents a much-needed advance in our concept of the real in a technological age.

In this new work, renowned feminist filmmaker and postcolonial theorist Trinh T. Minh-ha offers a lyrical, philosophical meditation on the global state of endless war and the violence inflicted by the imperial need to claim victory. She discusses the rise of the police state as linked, for example, to U.S. military intervention in Iraq and Afghanistan, or to China's occupation of Tibet, examining legacies of earlier campaigns and the residual effects of the war on terror. She also takes up the shifting dynamics of peoples' resistance to acts of militarism and surveillance as well as social media and its capacity to inform and mobilize citizens around the world.At once an engaging treatise and a creative gesture, Lovecidal probes the physical and psychic conditions of the world and shows us a society that is profoundly heartsick. Taking up with those who march both as and for the oppressed—who walk with the disappeared to help carry them forward—Trinh T. Minh-ha engages the spiritual and affective dimensions of a civilization organized around the rubrics of nonstop governmental subjugation, economic austerity, and highly technologized military conflict. In doing so, she clears a path for us to walk upon. Along with our every step, the world of the disappeared lives on.

In this new work, renowned feminist filmmaker and postcolonial theorist Trinh T. Minh-ha offers a lyrical, philosophical meditation on the global state of endless war and the violence inflicted by the imperial need to claim victory. She discusses the rise of the police state as linked, for example, to U.S. military intervention in Iraq and Afghanistan, or to China's occupation of Tibet, examining legacies of earlier campaigns and the residual effects of the war on terror. She also takes up the shifting dynamics of peoples' resistance to acts of militarism and surveillance as well as social media and its capacity to inform and mobilize citizens around the world.At once an engaging treatise and a creative gesture, Lovecidal probes the physical and psychic conditions of the world and shows us a society that is profoundly heartsick. Taking up with those who march both as and for the oppressed—who walk with the disappeared to help carry them forward—Trinh T. Minh-ha engages the spiritual and affective dimensions of a civilization organized around the rubrics of nonstop governmental subjugation, economic austerity, and highly technologized military conflict. In doing so, she clears a path for us to walk upon. Along with our every step, the world of the disappeared lives on.

The storyteller is the living memory of her time: at once an oracle, weaver, healer, warrior, witch, protectress, teacher and great mother. Her powers are to do with passing on, not only the stories but transmission itself: ‘what grandma began, granddaughter completes and passes on to be further completed.’ In contrast to the idea that a story is ‘just a story’, pioneering postcolonial feminist theorist and filmmaker Trinh T. Minh-ha recodes ideas about truth and fantasy to tell a different story about power, civilisation, history, medicine and magic. Grandma’s Story shows how creative speech is connected to women’s powers of enchantment, drawing upon and speaking with storytellers including Theresa Hak Kyung Cha, Clarice Lispector, Maxine Hong Kingston, Leslie Marmon Silko and Zora Neale Hurston – all who may be known as ‘she who breaks open the spell’.The story as a cure and a protection is at once musical, historical, poetical, ethical, educational, magical, and religious.

"Det händer sällan, ja kanske alltför sällan att man står handfallen inför en bok. Erövrad av såväl språket som dess innebörd. När Glänta produktion nu ger ut den första boken av Trinh T Minh-ha på svenska, en samling essäer skrivna under de senaste tjugo åren, är det exakt en sådan känsla som drabbar mig." (Elin Grelson Almestad, Helsingborgs Dagblad)Någon annanstans, här inne samlar tio av Trinh T Minh-has viktigaste essäer skrivna under de senaste tjugo åren, och är den första av hennes böcker som översatts till svenska. I fokus står "gränshändelsen", liksom ett antal teman bekanta från hennes övriga verk - immigration, hybriditet, exil, översättningar, förskjutningar och avvisningar. Vad betyder det att känna sig out of place på den plats du kallar ditt hem? När och hur framträder främlingen i "den globala rädslans tidsålder"? Mycket står på spel och många motsättningar måste gestaltas på nytt: innanför och utanför, centrum och periferi, hemma och borta, säkerhet och osäkerhet. Trinh T Minh-ha berättar med hjälp av resonanser snarare än enligt en linjär logik, och låter konsten och litteraturen bli oskiljaktiga från den politiska teorin snarare än att renodla någondera. På så sätt kan hon närma sig gränserna mellan dåtiden och framtiden, den enskilde och kollektivet, de döda och de levande. I Trinh T Minh-has upp-fordrande berättelser om tystnad och väntan framträder gränshändelsen efterhand som en zon där man kan ifrågasätta och stärka sin inre övertygelse för att "vinna över en omöjlig situation".Trinh T Minh-ha är verksam vid institutionerna för Retorik och Genus- och Kvinnostudier vid University of California, Berkeley. Hon är prisbelönad filmare, författare, kompositör och kulturkritiker och har skrivit ett antal inflytelserika böcker inom postkolonial teori, feminism och estetik, som When the Moon Waxes Red, Framer Framed, Woman, Native, Other och The Digital Film Event. Bland hennes filmer kan nämnas Reassemblage, Surname Viet Given Name Nam, The Fourth Dimension och Night Passage."(H)os Trinh T Minh-ha har reflektionen kring flyktingskapet och gränshändelsen alltid en resonansbotten i den egna levda erfarenheten"Oscar Hemer, Sydsvenskan

The dwellings of hundreds of African ethnic groups offer a variety of conceptions and building practices that contradict the widespread image of the primitive hut commonly attributed to rural Africa. Each house or group of houses is designed not only to shelter the members of a family, but also to enable intimate communication with ancestors and divinities and to harmonize with the forces of nature. Such an architecture thrives in a community context where it is simply not acceptable to plunder resources from the earth, and resources are used only in accordance with their availability, in quantity, and at times of year that minimize environmental impact.This cultural dimension and its realization through different architectural practices are illustrated in this work with examples taken from dwellings across numerous ethnic groups in sub-Saharan West Africa.Drawings, plans, axonometric projections, and photographs show the beauty and complexity of this architecture that is a spiritual praxis—as much place of life as work of art.