Many of us were told the story of the pilgrims and Native Americans and their shared cooperation, which ultimately led to the holiday tradition of Thanksgiving, only to grow up and find out that the reality was much darker. History is always a record told to us by others, sometimes in the form of a lecture from our teacher, a textbook, a documentary film, or stories from our relatives. Our culture often portrays it as something we cannot change, something to be taken as fact. But history is a product of bias, often warped from the perspective of the teller. And as we learn more about the world, it is our responsibility to interrogate these narratives. But what if we did more than just ask questions?
Our latest round of crowdfunding picks are all about reimagining history and the way it was told to us, offering up an alternative that aligns with the way we would rather see the world.
Cinthia Chen’s “Anna May Wong, Actress Who Died a Thousand Deaths” blends the production styles of cinema and theater to rewrite racist and sexist tropes prevalent during Hollywood’s Golden Age. Short “Family Tree” is about an eight-year-old girl who discovers that her seemingly-idyllic family is incomplete in a way she never expected. Finally, “Born Still” is a campaign to take back womanhood in the male-dominated genre of Westerns.
Here are the latest crowdfunding picks from Women and Hollywood.
“Anna May Wong, Actress Who Died a Thousand Deaths” – Written and Directed by Cinthia Chen
The first major Hollywood movie with an all-Asian cast since the “Joy Luck Club,” the success of “Crazy Rich Asians” earlier this year was a landmark moment for representation. And with its release came much discussion and reflection about the portrayal of Asian-Americans on screen. “Anna May Wong, Actress Who Died a Thousand Deaths” inventively explores this history, but goes one step further by imagining what could have been.
An actress starring in films starting in the 1920s, Anna May Wong was often typecast in stereotypical roles of the “butterfly,” “dragon lady,” “and “china doll.” This was incredibly frustrating for the star, who wanted to do more than just be a trope that facilitated the more nuanced stories of white characters. “Anna May Wong, Actress Who Died a Thousand Deaths” offers Wong the chance to flex her autonomy on these roles by recreating a different version of events, with her characters at the center. Described as “live cinema theater,” the project mixes mediums, bringing to life a narrative told both on stage and screen. The production recreates the scenes from Wong’s film on stage, and projects them live onto a screen in the same venue, as if audience members were watching the films themselves. However, in this version of events, Wong is free to direct these scenes, by not just putting her own spin on the character, but reclaiming her role in the story entirely.
Creator Cinthia Chen, who conceived the idea, is Asian-American herself and describes the project as a personal one. Chen wanted to build upon the legacy of Anna May Wong, explaining how her inspiration came from the way Wong played these roles with dignity, despite their stereotypical nature. In the campaign she says, “The interesting thing about her is that she took that and she played it with a lot of dignity. And through her acting, she had subverted some of these things that were not written with her, or people like her, in mind. So what we’re trying to do with the show is build upon that. And also to allow more space for Anna May Wong to hijack these moments, to recreate and reimagine how maybe she would have wanted her films or stories to be told.” Chen’s vision is a truly original exploration of representation that comments on how far Hollywood has to come, and how far it still has to go.
Support “Anna May Wong, Actress Who Died a Thousand Deaths” on Indiegogo.
“Family Tree” (Short) – Written and Directed by Nicole Magabo Kiggundu
“Family Tree” is an exploration of the feelings that follow the revelation of a family secret. The short centers around Nagawa, a young girl living in Uganda. Her life is seemingly perfect, filled with adoration from both her friends and family. When Nagawa’s father is in an accident, she and her mother go to the hospital to be by his side. As she waits, Nagawa finds out a shocking truth that shatters her picturesque world. She and her mother are not her father’s only family, but in fact one of many.
Based on events from writer-director Nicole Magabo Kiggundu’s own life, the film is a close-up look at a complex family relationship. What happens when our memories that are steeped in love suddenly turn sour? “Family Tree” dives into the trauma we carry from our personal histories, and tries to make sense of this particular brand of heartbreak. Kiggundu underscores the cultural background of her experiences, and those in the story, writing: “In Uganda, specifically, I believe there is an under-reported link — for many of us — between the average state of our mental health and our fractured family dynamics. Especially those that go unresolved and undiscussed for weeks, months, even years. Our family life has a prevailing influence on our lives. It is evident in how we treat other people that we encounter along the way. Bringing unresolved issues to the forefront can encourage families to confront loaded questions that hold them hostage generation after generation.”
Donate to “Family Tree” on Kickstarter.
“Born Still” (Short) – Written by Ashley Platz
“Born Still” was conceived from the question, “Where are the women Westerns?” Seeing a clear lack of this type of film, the short volunteers a story of its own to fill the void. Set during the Civil War, “Born Still” is about three women caught in the bloodshed during one of the most divisive times in history. Although not on the battlefield, the experiences these three women go through on the home front are just as meaningful as any that would be told about a man during this time.
While the Western is a well beloved genre of cinema, it leaves something to be desired in the way of representation for women. Writer Ashley Platz expands on the initial question in her campaign, further interrogating the one-dimensional characters traditionally found in these kinds of stories, saying: “Not one that pretends to be about the women, but is actually about the women. Not female characters who are ‘damsels in distress’ or ‘ladies of the night.'” Flipping the script, “Born Still” challenges our ideas about what a Western is, and is out to prove that there is room for more than one kind of story.
Learn more about “Born Still” on Seed&Spark.
To be considered for Women and Hollywood’s biweekly crowdfunding feature, please write to womenandhollywoodinterns@gmail.com. All formats (features, shorts, web series, etc.) welcome. Projects must be by and/or about women.
