"Through Fulbeck's lens"
The Sun August 13, 1996 |
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The first thing that strikes one about independent and inspiring video artist and film-curator Kip Fulbeck is his approachable earthiness. Brushing auras with this guy (uhm, assistant professor) will not cause any allergic reactions. Fulbeck, in all honesty, is warm, intelligent, unabrasive and -unlike several others in the arts circles- is lah-dee-dah deficient here for the second time around as film curator of the Asian American Film Festival, Fulbeck is naturally excited over the selections for this year's fest. he does not quite gush, but he feels for the issues these films are dealing with. The painful joys that many Asian American films are borne out of the humbling yet eloquent filmic reenactments of culturality and displacement- these are the potent contents of what Fulbeck has selected. these, and of finding a voice and wading through the sensitivities of race relations through the use of humour, autobiographical narratives and rare but cherished personal victories. to convey the pressing messages of inter-racial politics and understanding. For his own offering Fulbeck has provided a rather quirky yet loving look at the relationship he has with his mother in L.A. Christmas. Described as an "I love you, mum," piece, fond memories of his mother in L.A. Christmas. bring on a dashing smile or recollection and Fulbeck's eye take on a whimsical sparkle. The film was "a very funny break" from his other rather painful film- Nne Fish - on euthanasia and his grandmother. Fulbeck's at times cynical but quirky, sometimes painful yet humorous films usually dwell within the genre of-or what he terms as- "fictional autobiography." I'm speaking in the first person, but the events may not necessarily be real," he explains. In answer to the issue of self-fixation in his films, he asks: "Who's not fixated on yourself?" His voice gives way to a nuance of agitation before he gets back onto the track of self-expression: "I do autobiographical work because it's interesting." Fulbeck's autobiographical work with a few twists of imagination has inspired and at the same time, evoked an acute sense of empathy amongst his audience. Banana Split is one such film. Fragmented with stilled images of a childhood and shaped by Fulbeck's search fro identity, the film generally deals with Fulbeck's personal relationship with America and its diverse receptions and perceptions towards race. As much as it is somewhat rude and at time affronting for people to question Fulbeck about his mixed racial roots - Chinese, English, Irish and Welsh- it is a fact that Fulbeck's search for identity has led tot he creation of some of his most poignant pieces. "The idea is that identity is an on-going process. When I was a kid, I would check (tick) white, then Chinese," he narrates. When he moved on to check "Other", he would be asked to explain. Then, in rebellion, he "refused to check," or he "checked all the boxes." Such are the trials that any person from a racial minority or of racially-mixed parentage must endure during the process of self-search and development. Fulbeck talks about and compares the rather different experiences of driving across the country with a Japanese American male friend, and on a second trip, with a white female friend. On the first trip, "a guy threw his hands up because he thought we were going to rob him." Speaking on his second trip, Fulbeck describes how some of the antagonistic" people in the hick towns would have viewed them- "an Asian guy with a beautiful white woman." They were ignored and were not given any service at a truck-stop diner in Louisiana. However, "there were nice, wonderful people too," and Fulbeck headed home to Southern California and wrote the stories for Banana Split - "a mosaic on that's the way life works." "It was a need to tell my stories," comes his simple reply on how he came to be a video artist. It may have began with his staging of fireworks shows in the neighbourhood - "I was a performer and I wanted my voice to get out there." And then he made a documentary on his hometown - on the seedy side, and on things which superficially polite society may refrain from mentioning. Fulbeck also uses points of humour in his work as a high contrast to the deeper inflictions of pain. He talks about the "dance between funny at one point and pain," and says, "you can be more affected deeply in the poignant parts." And to get his messages across, "I'd rather seduce them with comedy." "Definitely, I'm a leftist and the work is meant to provoke thought," he adds. "All I want to do with my work is to get my little finger under the skin and go... (he makes a little drilling sound) - to make them see how advertising or portrayals affect things," he says in reference to 28 Kisses which throws together "images of Asian women kissing white men" such as Rambo and the like. In a follow on from the stereotyping of Asian women as witnessed in 28 Kisses, Fulbeck moves on to speak about Asian male stereotypes in the US. He cites The Joy Luck Club as an example of how Asian men have been portrayed negatively in the presence of -on the other hand- such positive images of strong Asian women. Hence, Fulbeck talks about showing works which portray Asian men as "human beings", rather than stereotypes. "I actually believe in hope, and change- the idea that we can make this work." For example, showing Banana Split in Texas may have altered the notions of some of his audience. "The next time they meet an Asian man, they'll be different," says Fulbeck with hope. For demotivated individuals with dreams of becoming independent film-makers, Fulbeck's words are: "You have to have the courage to do your own work," despite the subtle and financial pressures, and the interference of those who chip away at one's confidence. "Have the idea that people want to see it. You have to have the courage to do your own story the way you want to tell it." He mentions Quentin Tarantino and the unpromising response of his test audience for Pulp Fiction- but look where it stands today. "You have to talk in the way you're comfortable with." And although self-censorship may be involved, remember this: "Too much work is too safe," says Fulbeck. "I like to push a few buttons, just don't shoot me." | |