Using the 1964 Russian-Cuban classic film I Am Cuba as its starting point, She Was Cuba explores the nature of memory, the time passed and its remains. The film is made up of two stories. The first traces the life and death of a Cuban woman, Ada Perez Esquivel, who fled to seek political asylum in Canada. It is the tale of a woman of colour in exile, and her search for freedom, love and acceptance. The heroine symbolizes Cuba the country as well as those who have left their native land for a new home elsewhere.
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4 Archival description results for Canada
Soraida is a Palestinian woman who lives in Ramallah, in the occupied territories. This video captures her personal struggle to retain her humanity in the midst of oppression. In her neighbourhood, the women do not all wear veils, the men do not rattle off empty political slogans, and the young people do not have bombs strapped to their belts. Life goes on despite the curfews and checkpoints that confine the people in a barless cage. Soraida invites us into her world, and that of her family and neighbours. Through their simple, everyday actions, we discover the worst thing about living under a state of siege: the loss of control over one's own life. In this vibrant plea against the occupation, Soraida shares her reflections on life in Palestine and her refusal to give in to the hate and violence.
UntitledWhat happens when a butterfly flutters its wings? Does the air around it rumble and seethe, creating a hurricane on the other side of the globe? And when blue chip stocks suddenly plummet one day, how many workers lose their jobs or their pensions? The global market is not a neutral territory, but an unprecedented state of interconnections and interdependence.
UntitledAddressing issues of transition, alienation, refusal, identities, ethno-fascism, body as object & metaphor, agents, monsters, abjectness, subjective affinities, and objective trusts with material taped predominately while moving through Ljubljana, Zagreb, Sarajevo, Belgrade, and Skopje. The subjects conversing come from a range of constituencies; migrants, refugees, asylum seekers, residents (permanent and transient), students, workers, and cultural producers, recounting experience, locating sites, shifts, events, and the theorizing and accounting of the issues at stake, with associated ambient imagery forming specific histories of locations, and locations of histories at the intersection of cultures in this/these particular place(s) and time(s).
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