control-1<\/a>\n<\/p>\n\n\n\n
Writers Statement: <\/p>\n\n\n\n
How can my voice mean anything in the world?
As a film student, I\u2019m frightened about my chances of success in a
competitive film industry. As a Filipino immigrant coming from a
colonized and imperialized nation, I\u2019m frightened about losing
even more of my family\u2019s culture; assimilation is the only path to
the economic success that my grandparents never enjoyed. As a
Filipino-American film student, I\u2019m frightened that by relying on
the established conventions of an artistic medium so infused into
the history of Western globalization, my art will build on the
cultural heritage of oppressors.
The title \u201cControl (Inspired by Kendrick Lamar)\u201d is a refusal to
contribute to that heritage, preferring instead to build on the
heritage of the rappers and Asian YouTube singers that I admired
as a youth. As film is a primarily visual medium, the script often
relies more heavily on voices, dialogue, and intertextuality than
visual storytelling, more influenced by the conventions of hip-hop
and YouTube covers than The Birth of a Nation. Control is a
literary form that utilizes the conventions of cinema, as well as
the history it automatically connotes.
Whether performed by Ian McKellen or directed by Michael Avila,
the world remembers that Samuel Beckett wrote Waiting for Godot.
In cinema, however, authorship is debatable. If Control were
anything more than a script, my voice could easily dissipate into
a crowd of collaborators.
As a student in a predominantly white film school, it seems that
one of the few ways my voice can survive is to express myself
through white stories rather than Filipino-American ones. Hence
the use of Orson Welles as my surrogate in Control. My voice is
whitewashed, but on my own terms.<\/p>\n\n\n\n
Leading Editor<\/strong><\/p>\n\n\n\nJoseph Seamons
<\/strong>Supporting Editors<\/strong><\/p>\n\n\n\nMeg Farnsworth<\/p>\n\n\n\n
Gigi Knapp<\/p>\n\n\n\n
Copyeditor<\/strong><\/p>\n\n\n\nFleur Van Woerkom<\/p>\n","protected":false},"excerpt":{"rendered":"
By Jeff Belza de Jesus Seeking comfort after Andr\u00e9 Bazin\u2019s funeral, Orson Welles (43) asks a Priest (25) to walk with him to his car. Welles\u2019 distress worsens as the Priest is unable to satisfy Welles\u2019 questions. Welles blasphemes against God and finds himself at the mercy of the screenplay\u2019s author.<\/p>\n","protected":false},"author":3,"featured_media":731,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[138,142],"tags":[],"_links":{"self":[{"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=\/wp\/v2\/posts\/729"}],"collection":[{"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=729"}],"version-history":[{"count":3,"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=\/wp\/v2\/posts\/729\/revisions"}],"predecessor-version":[{"id":768,"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=\/wp\/v2\/posts\/729\/revisions\/768"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=\/wp\/v2\/media\/731"}],"wp:attachment":[{"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=729"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=729"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=729"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}