solved Week 4: Countermemory and Style – 2:[Strive to post your

Week 4: Countermemory and Style – 2:[Strive to post your Part 1 Individual Reflection remarks by Thursday, April 22, 11:59pm. You are encouraged to include a question to your group. Then add your Part 2 Peer Comment by Saturday, April 24, 3pm.]In our Week Four readings by Jun Okada and Broderick Fox, we are presented with the hard-fought activism of racial minority producers to contribute documentary programming into U.S. public television, and how documentary makers can use aesthetics, or style, to create codes of meaning. Because of the contested relationship of Japanese American personal and community memories to official government and Hollywood film exhibits, we also studied the concepts of countermemory and postmemory. With our single target film, History and Memory: For Akiko and Takashige (1991), I welcome your individual reflection (Part One), and Peer Comment (Part Two) with your peers.A Suggested Question for your comments:In her article on World War Two government film narratives, cinema scholar Sumiko Higashi* cautions contemporary Japanese American filmmakers from redisplaying this wartime propaganda content due to its effective melodramatic appeal and inaccurate messaging about Japanese Americans. About History and Memory: for Akiko and Takashige, Higashi writes that Tajiri’s lack of filmed visual images for her family members (mother, father, aunt, and others speak through the audio channel only or offscreen) puts the film at risk of allowing archival authority to prevail over the filmmaker’s arguments. This week’s reading author Broderick Fox asks “How can the archive be used in unique and evocative ways, rather than producing a still-image slideshow with accompanying voiceover and music?” (Fox, “Style: Audiovisualizing the Documentary,”p.87)So, by your own experience with Rea Tajiri’s film, what do you think about searching for one’s own history for which there, for the most part, are no documented images? What do you make of Tajiri’s amalgamation of the images she CAN find? Fox and Okada call History and Memory an experimental non-fiction film. In your remarks, please share a specific example of your understanding of Tajiri’s techniques and whether or not you find it achieves a stylistic coherence for her objectives?Make sure to integrate details, examples or citations from the source film plus and at least one other category of our Week 4 course materials, and clearly identify your sources. This means you should include at least two of the following resource types to inform your writing: (e.g. film exhibit + 1 reading , or film exhibit + 1 class lecture point, at minimum)Unit 3 Lesson material Categories to discuss with Rea Tajiri’s film: Reading Category:Jun Okada. “The Center for Asian American Media and the Televisual Sphere.” Broderick Fox. Chapter called “Style: Audiovisualizing the Documentary.” Or the Class 8 reading, section “Objectivity” within the chapter called “Reimagining Documentary.”Class Lesson CategoryClass 7 Zoom Class or Lesson slides Class 8 Zoom Class or Lesson slides (If you wish to discuss another take on the week’s materials, feel free to identify a different frame for your comments.)*Source: Melodrama, Realism, and Race: World War II Newsreels and Propaganda Films.Cinema Journal. Vol. 37, No. 3 (Spring, 1998)