Visitors of Stanford's Cantor Arts Center observe video images in BLKNWS, a work of art crafted by Kahlil Joseph. (Photo: L.A. CICERO/Stanford News) When sitting down on a small black couch in the Cantor Arts Center, or in a chair at Harmony House or Lakeside Dining, the striking, wall-length, black-and-white photograph of nuns first catches the eye.
To avoid the nuns’ glare, one may look toward the two television screens placed in the center of the wall. The scenes on the screens may seem like a mess at first, both visually and auditorily — a kind of unconventional news show of sorts — but soon, the purpose becomes clear. This isn’t an ordinary news broadcast, but one dedicated entirely to one of the most underrepresented and misrepresented groups in America: black people. Over the years, artist Kahlil Joseph has amassed fame for his striking short films, usually centered around black culture and excellence. He’s worked for superstars including Kendrick Lamar and Beyonce. Joseph’s latest work, BLKNWS, is a makeshift news broadcast displayed on two television screens placed side by side, showcasing aspects of the black community that aren’t usually covered by major news channels. His exhibit has been on display since Oct. 2018 in the Cantor Arts Center, Harmony House and in the dining hall of Lagunita. The exhibit closes on Nov. 25. Like much of Joseph’s work, BLKNWS is as symbolic as it is informative, combining news and visual art in order to present a thought-provoking concept: how news channels would look if they were not biased against the black community. Joseph manages to express this idea with the use of two simple television screens that can be found in the typical American home. By using two screens rather than one, Joseph is allowed more creative freedom in how he chooses to tell the stories of the black community, and is able to seamlessly incorporating artistic elements into his makeshift news broadcast. Though it might seem like a mess at first glance, loud rap music drowning out the sound of an interview or seemingly unrelated images and videos being displayed side by side, every choice in Joseph’s art holds meaning. The distinctive characteristic behind his pieces is that much of their meaning is up to interpretation. Throughout BLKNWS, Joseph includes videos that might appear completely unrelated to black culture and identity, like an interview of Jim Carrey at New York Fashion Week in 2017 or a CGI animation of a dinosaur trying to dodge meteors hurtling toward the earth. However, these videos all tie together to represent core ideas central to black culture. To some, the video of the dinosaur running from meteors might represent the extinction of black culture due to its lack of representation in the media, while others might have a different interpretation. Joseph’s work forces the viewer to immerse themselves in it in order to fully grasp the ideas and concepts he expresses, which are often presented in abstract ways. Joseph relies heavily on music and video in most of his pieces. In m.A.A.d, a short film inspired by Lamar’s 2012 album Good Kid, m.A.A.d City that was displayed in the Museum of Contemporary Art in Los Angeles in 2015, Joseph overlapped music from Lamar’s album with clips of daily life in Compton, while also presenting his film on a double screen, like he does with BLKNWS. By combining Lamar’s music with footage of Compton, Joseph manages to create a striking piece that blurs the lines between a music video and a short film. Joseph uses these same methods in BLKNWS, juxtaposing pop and rap music with various audio and video clips. For example he overlaps a video of a dinosaur screaming with an audio clip of someone talking about the extinction of black culture through the media. With audio and video, Joseph is not only able to educate his audiences, but also paint an image of black culture in their minds, bringing them along on a journey to either discover or revisit the true meaning of what it means to be black in America. As with any news show, Joseph’s has news anchors, including influential figures like actress Amandla Stenberg, who deliver the news in unconventional and sometimes humorous ways. However, not all topics Joseph covers in his piece are lighthearted. His goal is to show all aspects of the black community that aren’t equally represented by the media, and that includes violence and hate crimes against them. Violence against blacks in America is a huge part of black culture, dating back to when Africans were brought to the United States to work as slaves. Joseph doesn’t choose to focus only on positive aspects of being black in America, but instead presents an overarching view, equally showcasing good and bad, something major news channels nowadays fail to do. BLKNWS is a prime example of the result of combining journalism and art, fact and creativity. Though it can be a lot to take in, with images sometimes flying by quickly, Joseph’s work manages to stick with audiences for a long time. It can be hard to understand everything he’s trying to communicate at once, but this lets the viewer think, to wonder why he decided to put two clips side by side, what the significance of the clips is and why he chose one song rather than another. Though Joseph has not confirmed plans, some have expressed hope that BLKNWS transforms from an art exhibit into an actual broadcast seen by viewers around the world. BLKNWS was originally created to tell the untold stories of the black community that most news channels choose to leave out. A broadcast would help fill the gap left by news and media companies regarding the equal representation of black culture and writers in the media. It could alter the ways we perceive seemingly news outlets, and could call further into question their reliability. Contact Jasmine Venet at jasminevenet28 ‘at’ gmail.com.
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While the first three "Toy Story" movies seemed to focus on the development of characters like Buzz and Jessie, “Toy Story 4” zooms in on Woody’s development, and how the toy comes to terms with the fact that he is no longer of use to a child. (Photo: Pixar) As the familiar brown cowboy hat and sheriff’s badge appear on screen, excited murmurs fill the movie theater. The majority of the audience grew up with Andy, from playing with their toys as he did with his in “Toy Story,” to preparing themselves for their first year of college while he did the same in 2010’s “Toy Story 3.” They have gone on countless adventures with Woody, Buzz and the rest of the gang, and are now seeking a sense of closure in the last movie of the beloved series, a closure Pixar delivers admirably.
Staying true to its brand, Pixar has produced another tear-jerking film in “Toy Story 4.” At the start of the movie, we learn that Woody is no longer the favorite toy, Bonnie having left him to gather dust in her closet. Despite this, he wants to help Bonnie in any way he can, his dedication and loyalty to her infinite, though her interest in him is long gone. Knowing that Bonnie is scared of her first day of kindergarten, Woody accompanies her to school in hopes of helping her get through the day. To cheer her up, he discreetly helps her make her soon-to-be new favorite toy out of pieces of trash: Forky. What he doesn’t expect is for Forky’s new status as a toy to allow him to come alive and start a whole new set of problems for Woody. This sets the ball rolling for the toys’ final adventure on the big screen. Filled with action, drama and suspense, the main storyline in “Toy Story 4” is not actually centered around Forky, but rather Woody, who is desperately trying to find his place in the world. Even though the other toys can speak and move like humans, Woody is the only one who seems to think and feel like a human does. This can be observed throughout the movie, like in one scene where Buzz struggles to find his “inner voice” when Woody tells him to do, highlighting the difference between the two characters. While Woody has a heightened understanding of the world, wanting to serve a greater purpose than simply be a play thing, Buzz, like many other toys in the Toy Story universe, still struggles to simply express emotion and other things we find human. While the first three Toy Story movies seemed to focus on the development of characters like Buzz and Jessie, “Toy Story 4” zooms in on Woody’s development, and how the toy comes to terms with the fact that he is no longer of use to a kid. This results in the action and characters old and new serving more as backdrops to Woody’s quest of finding himself, aiding him in his journey, rather than playing crucial roles individually. Though this might not be the storyline viewers were hoping for — the plot only revolving around Woody and a handful of characters rather than the original gang of toys — it manages to complete its task of wrapping up the beloved series. The film finally shows some real character growth and closure for arguably the most important toy of the series. Without having seen at least one of the first three movies, though, “Toy Story 4” might come as a bit of a bore. While the plot is interesting, the action sequences captivating and the animation quality incredible, it takes some time to get to the more entertaining parts of the movie, which don’t just center around Woody’s growth as a character. The introduction of new characters is also very rushed, and their roles aren’t as important or impactful as they were in previous movies, like with Latso in “Toy Story 3.” However, the fourth movie continues the trend of previous movies in the series by bringing fresh ideas to the table, such as playing off the trend of creepy dolls and introducing a new subsection of toys: lost toys. These two things, especially the lost toys, play a big part in helping Woody realize his purpose as a toy and contribute greatly to his character development throughout the movie. “Toy Story 4” is heavily centered around Woody, allowing the viewer to see him in a different and deeper light. We get to witness his way of dealing with a crisis in his life and how, with the help of others, he slowly comes to realize his purpose as a toy. This kind of deep character analysis is not for everyone, but “Toy Story 4” embeds it in a more lighthearted and humorous plot, allowing it to tackle issues like one’s place in the world while still providing entertainment for viewers of all ages. Contact Jasmine Venet at jasminevenet28 ‘at’ gmail.com. The film was recently screened on campus as part of the Stanford Global Studies Summer Film Festival Everyone is born a storyteller: Aaron and Amanda Kopp express this conviction in “LIYANA,” the heartwarming and eye-opening film that they co-directed and co-produced in 2017. “LIYANA” was screened on campus by the Worldwide Support for Development (WSD) Handa Center for Human Rights for the Stanford Global Studies 2018 Summer Film Festival on June 27.
“LIYANA” is set in Swaziland, a country plagued by AIDS and overflowing with orphans. It follows the story of a young girl, Liyana, on a quest to save her brothers. Liyana’s entire story is imagined and narrated by five orphaned children from Swaziland. The film flashes back and forth between Liyana’s imagined story and that of the real-life orphans. In order to draw this line between reality and fantasy, the Kopps worked together with Nigerian graphic artist Shofela Coker — who had never been to Swaziland or met the five children until after the completion of the movie — to help animate these children’s stories. Coker’s limited knowledge of the country and its people allowed him to create art solely based off of the descriptions and artwork of the children. “The people who made [“LIYANA”] wanted the children’s words to come to life,” said Meredith Miller Vostrejs, program manager of the event and a member of the WSD Handa Center for Human Rights and International Justice team. “[They wanted] what the kids imagined and told to be real on the screen.” The film focuses on giving the orphaned children a chance to voice their imagination, dreams and hopes for the future. By offering detailed and intricate designs in his animation, all of which are based off of the drawings and creations of the children, Coker provides a platform for these voices in a compelling way. Winning more than 20 awards at international festivals, “LIYANA” has garnered significant attention over the past couple of months. Its ability to reveal both the innocence and darkness of the Swazi children through Coker’s amazing art and beautiful cinematography sets it apart from other films. The children’s narrative of Liyana’s story conveys their belief that if they persevere and hold on to hope, just like what they make Liyana do, they too will find their happy ending. “It’s powerful to hear these messages come from Swazi children and see their story resonate with an international audience,” said Selamile Dlamini ’15, who is originally from Swaziland herself. “I think it’s very powerful.” Apart from telling Liyana’s fictional story, the film also shows how these children incorporated many aspects of their own lives into Liyana’s, with AIDS as the most prominent issue. In the film, a nerve-wracking and tense scene of one of the orphaned boys getting tested for AIDS left the audience on the edge of their seats, whereas an animated scene earlier on in the children’s telling of Liyana’s story regarding AIDS had little reaction. Brutally realistic scenes like the one of a young boy getting tested emerge throughout the film. They prove especially effective not only in grasping people’s attention and raising awareness about AIDS, but also in showing how even in times of despair, these children still persevere. “While ‘LIYANA’ artfully shows the challenges, fears and hopes of children who lost their parents to HIV/AIDS, it resonates with audiences in the US — and here in Silicon Valley — as we grapple with challenges facing the US today with the separation of children and families at the US-Mexico border,” Vostrejs said. “LIYANA” is ultimately a film meant to not only tug at our heartstrings and open our eyes to the issues facing these Swazi children, but also show us the importance of persevering through hard times. Throughout the film, Liyana thinks of giving up many times, deciding she cannot continue with her quest, that she isn’t strong enough. Yet, every time she falls down, she gets back up, hope guiding her throughout her journey. Although these Swazi children’s futures may seem grim, they continue to hope, for they understand the power held in that one word, and how, just like Liyana, they too have the ability to create their own happy ending. Contact Jasmine Venet at jasminevenet28 ‘at’ gmail.com. New photography exhibit at the Herbert Hoover Memorial Exhibit Pavilion highlights the lives of soldiers and citizens in the Vietnam War era. At first glance, the new photography exhibit at the Herbert Hoover Memorial Exhibit Pavilion seems simple. White space is used consistently throughout the exhibit, the empty walls displaying only a few black and white photographs each. Two short films are projected in a makeshift theater tucked away in the corners of the Pavilion and four wooden tables in the center of the room display photographs, letters, books, music scores and newspaper clippings, all dating back to the Vietnam War era.
This simplicity is the true beauty of the exhibit “We Shot the War: Overseas Weekly in Vietnam.” The phrase “a picture is worth a thousand words” seems to be the central focus of this exhibit, each brutally human photograph speaking for itself — these pictures do not aim to show the violence of the war, but rather to highlight the lives of soldiers and citizens alike. “We wanted to show that war was not just about violence but it was also moments of fear, tranquility or peace, or also soldiers trying to make the best of their situation,” said Lisa Nguyen, archivist and organizer of the exhibition who also edited the forthcoming publication about the collection. What truly makes this exhibit so memorable, though, is how it was built not only to share such striking photographs with the public, but also with the photographers and journalists who took them. They originally thought all their work disappeared along with the Overseas Weekly at the end of the war. Back in 2014, the Hoover Institution Library and Archives acquired 20,000 photographs from photographers from the Overseas Weekly’s Pacific Edition. They then contacted every photographer and journalist from the Overseas Weekly, tirelessly seeking to identify each photographer to the best of their abilities. “[The photographers] were very integral to the preparation process and helping build out the narrative and the story, which is pretty much why we decided to name [the exhibition] ‘We Shot the War’ because it’s really their story, rather than just Overseas Weekly photographs,” Nguyen said. “It’s really about them.” While talking to the photographers, the organizers discovered that these photographs were not only never seen by any sort of audience, but also never seen by the photographers themselves. Bearing this in mind, the Library and Archives continued to look through more and more pictures, and ultimately came to the decision that they had to be shared with the public. “I just thought those pictures were gone forever, so it’s kind of nice to see the negatives,” said Don Hurst, former soldier and one of the many Overseas Weekly photographers and journalists stationed in Vietnam. A little-known fact about the Overseas Weekly is that its founder, Marion von Rospach, started her journalistic career in Stanford. Von Rospach decided to dedicate her life to journalism while writing on the Stanford Daily, later moving on to work for Stars and Stripes, a U.S. Defense Department paper located in Frankfurt, Germany, before creating the Overseas Weekly. The lack of information on von Rospach — and her collegiate career at the Stanford Daily — urged Nguyen to share this part of the Overseas Weekly story with the University. “There’s definitely that Stanford connection that I think that story didn’t really get,” said Nguyen. “When I was researching this particular paper, I didn’t really see much information about that out there, and so I thought that it was a story that was worthy of being told to a wider audience.” With the Overseas Weekly, von Rospach aimed to write for U.S. soldiers, delivering the perspective of the soldiers and Vietnamese citizens involved in the war, helping it become the most read paper by U.S. enlisted men. “The Overseas Weekly wrote what was going on because a lot of weird things were going on — weird, illegal things — and [the soldiers] could read about them,” said Cynthia Copple, a journalist and photographer with the Overseas Weekly. “So that was kind of a newspaper for enlisted men, so they felt a sense of community.” In the 1960s, when U.S. involvement in Vietnam escalated, Von Rospach wanted to expand the Overseas’ operations beyond Germany, and sent Ann Bryan, a trusted journalist from Texas, to Vietnam to establish a bureau for the newspaper. Bryan, like countless other young journalists and photographers, was sent deep into the Vietnam War. “A lot of the photographers and the journalists who became a part of the Overseas Weekly family … were soldiers, but oftentimes a lot of them were really young, straight-out-of-college students who either opposed the war themselves or who were really curious to understand what was the experience of the U.S. soldiers there,” said Nguyen. Many of the photographs in the exhibit were taken by these young photographers and journalists. This exhibit reunited photographers and journalists with their old photographs, yet many still had trouble facing these memories once again. “Each of the photographers reacted in their own way,” said Nguyen. “Some were very happy, some were traumatized, but all in all they were happy that their images survived because they had just assumed that they were just lost forever.” Art Greenspon, one of the photographers who was in Vietnam, focused mainly on studying the trauma experienced by the journalists sent to Vietnam, and viewed these photographs as a healing process after the war. “[Greenspon] also explores, not just the connections between politics, journalism and art, but also the trauma that was experienced by journalists, sort of the healing process that happens post war,” says Nguyen. “So for him, it was actually a healing process to be reunited with these photographs.” This exhibit was not only a healing process for Greenspon, but also for Vietnam veterans, with whom many photographers lived side by side throughout the war. “A couple of friends of mine went with people who were Vietnam vets to the exhibit, and one woman in particular told me that her husband felt really healed by that exhibit, and I think that’s fantastic,” said Copple. Hurst is currently ill and though he has seen some of the negatives, he has not yet had the chance to visit the exhibit. Based on the photographs he’s already seen, though, he believes that they are an important part of history that should be shown to the public. “Vietnam is a very complex war. It was like a diamond: lots of facets,” said Hurst. “Each one is different, each one is viewed differently, and I’d say we all had different Vietnams.” Each photographer and journalist has had their own unique experience in Vietnam, some interacting mainly with the soldiers, others going straight into the battlefield. The pictures in the exhibit are meant to showcase the Vietnam War as seen through the eyes of various photographers all with different experiences. However, not everyone’s ‘Vietnam’ has had the chance to be displayed by the Hoover Institution. “What’s on exhibit is just a minuscule amount of the entire collection; it’s a really tiny fraction, so we have a lot more work ahead of us, and so that was also another inspiration of having the exhibit,” said Nguyen. “Just to call attention to the collection, to bring interest to the general community and sort of just seek assistance to help us identify the individuals who might be unnamed in the photograph, the subject, and also the photographers, as we continue the journey of developing and conserving the rest of the collection.” “We Shot the War: Overseas Weekly in Vietnam” will be on display every day from 11 a.m. to 4 p.m. until December 8, 2018, at Herbert Hoover Memorial Exhibit Pavilion, next to Hoover Tower. Correction: A previous version of the article incorrectly stated that the name of the exhibition is “We Fought the War”, whereas it was actually called “We Shot the War”. The Daily regrets this error. Contact Jasmine Venet at jasminevenet28 ‘at’ gmail.com. |