Amoeblog

Vietnamese New Wave - Part I - German Euro-disco

Posted by Eric Brightwell, January 8, 2008 10:14pm | Post a Comment
Vietnamese New Wave

Are any of my readers out there Vietnamese? I was turned on to this amazing genre by "the Jewel of La Puente," the one and only (OK, one of thousands but still one of a kind) Ngoc Nuyen. I have asked the experts here at Amoeba Hollywood about "Vietnamese New Wave" (also referred to as Asian New Wave at times) groups and no one seems even remotely familiar with any of them, with the exception of Chris Matthews, to whom "Modern Talking" sounds familiar ...

First of all, when people talk about Vietnamese New Wave, they’re not talking about Vietnamese artists (although there is Thu Thuy, Lynda Trang Dai and supposedly a tieng viet cover of a Night Society song), but rather a movement that includes mostly German Euro-disco, Italo-disco and English synthpop artists who acquired, through means that no one seems to understand (although it definitely involves mixtapes) massive popularity amongst Vietnamese in Cali, Texas and Canada (and maybe elsewhere).

And whilst there’ve been at least four or five documentarians who’ve explored the still supposedly strange popularity of Morrissey amongst Mexicans and Mexican-Americans, to my knowledge no one has yet delved into the mysterious “Vietnamese New Wave” movement in which (in addition to OMD, Pet Shop Boys and Gazebo's "I Like Chopin") four German performers, with no radio play, no MTV exposure, no Amazon recommendations, no local performances came, against all odds, to achieve stardom in the Vietnamese immigrant population.

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Cinema Direct vs. Cinema Verite - The Quest for Cinematic Truth

Posted by Eric Brightwell, October 15, 2007 12:55pm | Post a Comment
Today marks the one billionth time the term "cinéma vérité" was used in a manner with which I don't agree. This time it was in reference to a shaky-cam advertisement for blue jeans or cell phones or something. 

Cinéma Direct

Cinéma Direct is documentary genre that began in Quebec in 1958. The Quiet Revolution, a cultural assertion of the French-speaking majority under the rule of the Anglo-minority, encouraged the development of a distinct Quebecois identity. As part of this cultural expression, filmmakers sought to re-instill truthfulness in the documentary genre, which, by the 1950s was usually studio-based propaganda rife with dramatizations and mickey mousing. In 1922's Nanook of the North, for example, Nanook (actually an Inuit named Allakariallak living in Inukjuak, Quebec) was built an oversized igloo to share with his wife (who wasn't really his wife) to allow a camera crew and sufficient lighting inside. He was filmed hunting with a harpoon. In the scene, Allakariallak looks in the direction of the camera laughing and smiling memorably. He only knew how to hunt with guns. You can almost hear Robert Flaherty taking him aside and asking, "Could you act... you know... more Eskimo?"

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