Third Digital Documentary

Figures

Figure 0.1. 228 Hand-in-Hand Rally, Northern Taiwan (February 28, 2004). Central News Agency.

Figure 1.1. Merian Cooper and Ernest Schoedsack during the production of Grass (1924). Produced and directed by Merian Cooper and Ernest Schoedsack.

Figure 1.2. Animated map of disputed territory. You Are On Indian Land. Directed by Michael Kanentakeron Mitchell, produced by George C. Stoney and distributed by the National Film Board of Canada (1969). Screenshot by author.

Figure 1.3. Mike Mitchell speaks to Canadian government representatives. You Are On Indian Land. Directed by Michael Kanentakeron Mitchell, produced by George C. Stoney and distributed by the National Film Board of Canada (1969). Screenshot by author.

Figure 1.4. Mike Mitchell and protestors speak with Cornwall police. You Are On Indian Land. Directed by Michael Kanentakeron Mitchell, produced by George C. Stoney and distributed by the National Film Board of Canada (1969). Screenshot by author.

Figure 1.5. Cornwall police force protestors into cars heading to jail. You Are On Indian Land. Directed by Michael Kanentakeron Mitchell, produced by George C. Stoney and distributed by the National Film Board of Canada (1969). Screenshot by author.

Figure 1.6. Protest press. You Are On Indian Land. Directed by Michael Kanentakeron Mitchell, produced by George C. Stoney and distributed by the National Film Board of Canada (1969). Screenshot by author.

Figure 1.7. Protest at the Canadian Custom’s House on Cornwall Island. Directed by Michael Kanentakeron Mitchell, produced by George C. Stoney and distributed by the National Film Board of Canada (1969). Screenshot by author.

Figure 2.1. Co-directors meet in Honolulu, Hawai‘i, left to right: Kainoa Kaupu, An-Chi Chen, Apay Ai-Yu (translator) Tang, Shin-Lan Yu, and Hau‘oli Waiau in Tongues of Heaven (2013). Reproduced with permission from author.

Figure 2.2. Aboriginal Culture Village in Tongues of Heaven (2013). Reproduced with permission from author.

Figure 2.3. Shin-Lan Yu at the Taroko National Park Museum in Tongues of Heaven (2013). Reproduced with permission from author.

Figure 2.4. Shin-Lan Yu interviews her mother at their family tribal shop in Tongues of Heaven (2013). Reproduced with permission from author.

Figure 3.1. Aboriginal Culture Village in Tongues of Heaven (2013). Reproduced with permission from author.

Figure 3.2. Aboriginal Culture Village in Tongues of Heaven (2013). Reproduced with permission from author.

Figure 3.3. Aboriginal Culture Village in Tongues of Heaven (2013). Reproduced with permission from author.

Figure 3.4. Aboriginal Culture Village production still for Tongues of Heaven (2013). Photograph by author and reproduced with permission by author.

Figure 4.1. Visitors create and upload onto The Wall at the Te Papa Museum (2009). Reproduced with permission from Museum of New Zealand Te Papa Tongarewa.

Figure 4.2. Marokot 88news.org Website. Reproduced with permission from 88news.org editorial team.

Figure 4.3. IsumaTV Website. Reproduced with permission from IsumaTV, Felix Lajeunesse (director) and Tanya Tagaq (actress) in Tungijuq (2009).

Figure 5.1. Root Tongue opening page (2019). Reproduced with permission from the author.

Figure 5.2. Classical Logo. Reproduced with permission from Otherwise, Co.

Figure 5.3. Raw Logo. Reproduced with permission from Otherwise, Co.

Figure 5.4. Modern Logo. Reproduced with permission from Otherwise, Co.

Figure 5.5. Plant Logo. Reproduced with permission from Otherwise, Co.

Figure 5.6. System Logo. Reproduced with permission from Otherwise, Co.

Figure 5.7. Root Tongue video clip topics (2019). Reproduced with permission from the author.

Figure 5.8. Harrell Fletcher and Miranda July, Learning to Love You More (screenshot), 2002–2009 web project (<http://learningtoloveyoumore.com>) and archive. Reproduced with permission from San Francisco Museum of Modern Art, Accessions Committee Fund purchase © Harrell Fletcher and Miranda July. Photo courtesy SFMOMA.

Figure 5.9. Root Tongue video clip introduction (2019). Reproduced with permission from the author.

Figure 5.10. Root Tongue video clip (2019). Reproduced with permission from the author.

Figure 5.11. Root Tongue prompt (2019). Reproduced with permission from the author.

Figure 5.12. Root Tongue upload interface (2019). Reproduced with permission from the author.

Figure 5.13. Root Tongue video contribution in the community gallery (2019). Reproduced with permission from the author.

Figure 5.14. Root Tongue text contribution in the community gallery (2019). Reproduced with permission from the author.

Figure 5.15. Root Tongue photo contribution in the community gallery (2019). Reproduced with permission from the author.

Figure 5.16. Root Tongue community gallery (2019). Reproduced with permission from the author.

Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher apologizes for any errors or omissions in the above list and would be grateful for notification of any corrections that should be incorporated in future reprints or editions of this book.

Acknowledgments

I would like extend my deepest gratitude to my creative team, whose friendship, inspiration and support made this book, and the creative production of the Tongues of Heaven documentary and Root Tongue web application possible in the first place: An-Chi Chen and family, Shin-Lan Yu and family, Yan-Fen Lan and family, Merata Mita, Malia Nobrega, Leivallyn Kainoa Kaupu and family, Hau‘oli Waiau and family, Amy P. Lee, Apay Ai-Yu Tang, Yu-Chao Huang, Sean Elwood, Michella Rivera-Gravage, Otherwise Co., Terry Hwang, Irene Faye Duller, Jessica Yazbek, Marisa Wilson, Wali Hassan Jafferi, Biagio Azzarelli, Shalini Agrawal, Michael Wong, Chevy Lum, Alex Wang and Julie Ann Yuen. I also cannot overemphasize the importance of the critical dialogue I have had with my students over the years who have shaped this artistic and scholarly research, and so I thank my students at National Dong Hwa University for sharing their minds and hearts and whose experiences serve as the springboard for this study and the transmedia documentary project. I am also grateful to my media studies students at the University of San Francisco, who provided invaluable feedback during our usability testing for Root Tongue.

A key aspect of the work’s success is the important community support I received in Taiwan, the San Francisco Bay Area and Hawai‘i. I am especially grateful to Ho Chie Tsai, James Y. Shih, Jenny and James Hong, Shin-Fei Wu, Carol Ou, Paul T. Tran and Anna Wu; Laura Welcher and Cameron Eng at the Long Now Foundation; and Dave Kamholz, Julie Anderson and Ben Yang at PanLex. I am also grateful to my academic colleagues, who offered their expertise at various stages of the research and writing process, and creative production: Robert Blust, Andy Wang, Wendy Chun, Nishant Shah, Rik Du Busser, Dafyyd Fell, Bi-Yu Chang, Kerim Friedman, Jolan Hsieh, Yi-Fong Chen, Kent Liu, Emerson Odango, Koukalaka McNaught, Bernadette Barker-Plummer and Dorothy Kidd.