Humans and other worldly beings, we present to you Glitch Off the Boat! Looped for your convenience.

a glitch thing

Locations to potentially exhibit our installation in and out of Santa Barbara

UCSB: Glass Box Gallery

Asian American Culture and Art Festival: Sponsored by EDI Media

9/19/2015 (Sat) 10AM-8PM
Puente Hills Mall
1600 S. Azusa Ave., City of Industry, CA 91748

GLI.TC/H International Noise && [Dirty] New Media Event

https://www.facebook.com/glidottcslashh

In Chicago between December 6th-9th

Glitch Photographs:

(Anna May Wong)

(Henry Brandon as Fu Manchu in Drums of Fu Manchu)

StillFrameGlitch

(Sessue Hayakawa screenshot from The Cheat)

 

Project Title: G̻̥͔̔͊̑̿ļ̞̪͉̰̳̤̳͍͓̂ͨi̷̴̶̠͍̯͈̱͈̪͈̦ͮ͗̽̈́͂͛t͉̣̘͚͎̙ͮ̽ͭ̚͞ͅc̞̯̺̖̗͈͈̉ͧͬḫ̸̥ͮ̓̕͠ ̴̧̫͕̭͂ͩ̆̚͟O̗̔́̂ͬͨͭͧ̃͊f̂ͯ͐̍͗͜͏͎̤̣͢f̊̃̈ͤ͏͙̺͇͈͍͚̱̺̫͟͝ ̣̯̅͑ͯ̐ͣ͡ẗ̵̤̫̮ͫ̒͐͊̂̂͜͠h̨̢͖͎̰ͨ̏̀͊̏ͩͤ́ė̲̹̫͐ ̷̛̺̱̗͓̮̞̈́̐̅ͫ͘B̴̡͓̣͚͕̳͆ͭ̌̈́̐ͫ͂͠o̵͙̥̺̰͙͙͉̞̭ͩͤͪà̔̾͊̒̅͏̶͔̀t̞̱̟̥̜̯̺̦͇̾̃̏̓

Members:

Sarah Ling

  • Glitch Photography using “Image glitch Tool”
  • Video Glitch and Editing using Adobe After Effects and Premiere Pro CC
  • Contributor to the Project Treatment
  • Concept Creator

Shaina Goel

  • Glitch Photography using Photoshop and VJ Um Amel Glitch Code
  • Video Glitch using Adobe After Effects and Premiere Pro CC
  • Contributor to the Project Treatment

Version 1.0: 

Version 2.0:

Version 3.0 (Final Exhibited Version):

Prototype:

 

Exhibition Space: UCSB Reel Loud Film Festival 2016

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Preliminary Logline:

A series of scenes from films of the Golden Age of Cinema will be glitched without audio into a video that will be looped continuously. The specific scenes that will be chosen will focus on negative representations of Asians and Asian-Americans and the unending perpetuation of Orientalism.

Definitive Logline:

Select scenes from Golden Age of Hollywood films Drums of Fu Manchu (1940) and The Cheat (1915) are glitched into a silent sequence that will be repeated on a loop. The specific scenes focus on negative representations of Asian men. The repeated viewing of this sequence simulates the continuity of Orientalism from the early days of silent cinema to modern cinema today.

Intro:

The movies that are options for glitching include the serial Drums of Fu Manchu (1940) and The Cheat (1915). One scene of each of these movies will be glitched; glitched frames from each movie will accompany our digital installation. The installation will be one monitor silently playing the glitched scene on loop complemented by prints of the glitched frames.

Our project is meant to comment on representations of Asians and Asian-Americans in Classic Hollywood Cinema. Many of these films represent Asian and Asian-American men as antagonistic, sexually aggressive to white women and Asian and Asian-American women as evil characters, often passive and inferior to the white male.

Conflict:

Glitch is used to critique the construction of Asian male characters as oriental, exoticized, predatory and sexually aggressive white women. They are always secondary to white men. These artificial and problematic representations of Asian men are an anomaly, a “glitch” of reality and the fictionalized white-washed cinematic world. They can never fit in due to their difference in culture. They were designed to be excluded from Western Society. Moreover, the conflict in our project is the problematic representations of these racial groups in Classic Hollywood Cinema as artificial constructions under Orientalist discourse. Our hope is to dramatize, through glitch, these portrayals in an effort to highlight their mere ridiculousness and offensiveness.

Based off of the idea of Glitch/Queer Feminism, which rejects the “glitch dualism” for playing into binaries of real and virtual that “parallel rampantly socialized figuration of male/female”, glitch is used to reject the binary of the Orient and the Occident, the white and the Other and also as a tool for reclaiming Asian identities.

“This glitch I speak of here calls for a breaking from the hegemony of a “structured system” infused with the pomp and circumstance of patriarchy, one that for all too long has marginalized female-identified bodies, and continues to offend our sensibilities by giving us only a piece of the pie and assuming our satisfaction. We want to claim for ourselves permanent seats at the table, an empowered means of demarcating space that can be possessed by us in entirety, a veritable “room of [our] own” that, despite the strides made via feminist political action, has yet to truly belong to us.” -Digital Dualism and the Glitch Feminism Manifesto

Completion/Exit Work:

When exiting our installation, we hope to inspire viewers to question the way in which film can perpetuate and feed racial stereotypes by providing a space of in depth and critical analysis.

Moodboard/Visual Inspiration:

http://www.gomoodboard.com/boards/jbfh2HVD/share

Works Cited:

  • The Cheat. Dir. Cecil B. DeMille. Perf. Fannie Ward, Sessue Hayakawa, and Jack Dean. Paramount Pictures, 1915. YouTube.
  • Drums of Fu Manchu. Dir. William Witney and John English. Perf. Henry Brandon. Republic Pictures, 1940. YouTube.
  • Russell, Legacy. “Digital Dualism And The Glitch Feminism Manifesto.” The Society Pages. W.W. Norton & Company, 10 Dec. 2012. Web. 26 May 2016.
  • Adobe Premiere Pro CC
  • Adobe After Effects
  • VJ Um Amel Glitch Code