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Doug Fishbone: Elmina
This video brought to you by Tate.org.uk
New Yorker Doug Fishbone talks about his film Elmina, in which he joins the cast of an entirely Ghanaian-written and produced film melodrama as the lead character. There is no explanation for Fishbone's difference, leading us as viewers to question our preconceptions of fiction, narrative, cinema, and race. Take a look at the artist's unique project as he guides us through big questions about roles and representations in film. Created by Tate.
New Yorker Doug Fishbone talks about his film Elmina, in which he joins the cast of an entirely Ghanaian-written and produced film melodrama as the lead character. There is no explanation for Fishbone's difference, leading us as viewers to question our preconceptions of fiction, narrative, cinema, and race. Take a look at the artist's unique project as he guides us through big questions about roles and representations in film. Created by Tate.
Want to join the conversation?
- In the video's caption, I don't understand the phrase "There is no explanation for Fishbone's difference ...". Is it meant to say "Fishbone's presence" or "Fishbone's different appearance from the African cast" ?(4 votes)
- I think it was meant to say different appearance. There is no explaination as to why a white man is in this African village, or why no one treats him differently.(6 votes)
- How long is the total film Elmina, which is to be released on DVD, as mentioned in the video?(3 votes)
- Elmina is a feature-length film, so about 90 minutes long. Interestingly enough, it was released as both a collectible artwork and an inexpensive DVD in street markets in the UK and Africa, and it was screened in Ghanaian cinemas while being shown in UK galleries.
You can read more about Fishbone's unique project here: http://www.tate.org.uk/whats-on/tate-britain/exhibition/doug-fishbone(5 votes)
Video transcript
My name is Doug Fishbone and I'm an American
artist based here in London and I work mostly in performance and video. And my most recent film which is currently
on at Tate is a full length feature that I shot in Ghana with a Ghanaian production company. "When these people come to buy your land,
let them buy your land. Because the beginning of the future is now." Basically I'm plonking myself into a Ghanaian
melodrama, you know, it was a script written by an African team and directed and produced
by an African production company but I just am assuming the lead role as though you gave
somebody a script and instead of actor A who was originally was going to be in it, put
in Fishbone without any change to the script so there is no mention at any time about the
fact I'm clearly the odd man out, you know, I'm a white guy from New York and I'm acting
the lead role in a West African melodrama with the whole cast being Ghanaian. "For those who are so stupid, short sighted
that they want to sell their land. How much are they going to be compensated for vacating
their land?" Well basically I play a fella named Atub Lankson
who is a farmer in the Western Region of Ghana near the city of Elmina which is where the
piece takes its name and I'm fighting against the local authorities, the local Chief's government
to save my land because the Chief wants to sell off all the land in the area to a foreign
corporation. So I'm standing up to the Chief because I don't want to sell my land and I
think that basically they're trying to swindle the local populous in order to sell out to
what turns out to be actually a Chinese oil company. "I'm not here to preach, but [inaudible00:02:12]
in our beautiful town, hallelujah. We're being cheated by the white people. That's
always happened. That doesn't mean we should allow it to continue." In much of my work I like to look at how different
audiences perceive the same thing and take from it very, very different things or bring
to it, very, very different things in terms of their context.
It's a piece that works as a story with a Ghanaian audience. Everyone in the cast is
well known in West Africa and then there's me, my presence. But again it's never, never
mentioned or referred to that I'm white because really then the issue then becomes, am I white
or what is the nature of this character and that's never explained and I think the ambiguity
there opens up a lot of very interesting questions about the nature of cinema is the nature of
representation, how audiences interact with fiction, how far can people extend the suspension
of disbelief and still kind of take a narrative on its own terms without saying, you know
what, this is too nuts. "[woman screams] You must go now. What have
I done?" I always had a kind of dual distribution idea
with it, so here it's on at the Tate and in an art context in a gallery so you can come
and see it in a gallery but eventually in a few weeks' time, we're going release it
on DVD for sale throughout Africa and immigrant communities so it will have a kind of double
life like the central character itself which is both various things, white, black, you
can never quite pin it down. Is this piece an art piece or a piece of popular cinema.
It's both at the same time