All rooms are equipped with an overhead projector
Rooms C, D, E, F, G and H (H only on Saturday): slide projector (framed slides, carrousel. There are extra carrousels available to set up your presentation in advance)
Rooms C, D, M, N, O, U and Committee Room 2: beamer to connect your laptop. You have to bring you own laptop. (If you want to use your Apple notebook, please contact us, as it may be incompatible.)
Rooms C, T and U: VCR
Programme
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Remembring Japanese American Internment: The Challenges of Interpretation and Translation
| This paper analyzes the use of Japanese American oral histories as the primary source-texts for creating plays about the Japanese-American internment. I consider the ideological as well as aesthetic choices made in shaping dramatic narrative, characters and situations, and the influence of the maker's own subject position and ethnicity in shaping these choices. In Velina Hasu Houston's Tea (1983), the writer draws upon interview material from the community of Japanese war-brides who had accompanied their soldier husbands to remote Fort Riley, Kansas. Houston, herself part Japanese, African-American and Native American, was drawn to these women's experiences as they sought to adjust to a new, often hostile, environment; in shaping the interview material, Houston discovered that she was, indeed, ''writing herself'": "their cultural struggle is my cultural struggle." The second case study is of a primary source project in which diaries, life-writings, and other personal material produced by young Japanese American internees was juxtaposed with United States government documents, statistics and orders. Here, the writers (themselves largely a Caucasian team) were asked to consider how their position as cultural outsiders influenced the ideological and aesthetic choices made, both in writing and in performance.
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