Nikolai Ursin

While still a student at UCLA, Norman Yonemoto arrived in Berkeley with a 16mm camera and discovered People’s Park in turmoil. His compelling short has remarkable interviews with bystanders and an especially poignant moment when a young folksinger serenades the gathered National Guard.

In this tour-de-force of stylized deconstruction, the Yonemotos rewrite a traditional narrative of desire — boy meets girl, boy loses girl. Employing the hyperbolic, melodramatic syntax of Hollywood movies and commercial TV, they decode the Freudian symbology and manipulative tactics that underlie media representations of romantic love, and expose the power of this media “reality” to construct personal fictions. Using the psychoanalytic language of advertising, cinematic and television texts to tell the love story of a pole vaulter/concert cellist and a cowboy/Abstract Expressionist painter, they rupture the narrative with psychosexual metaphors and references to pop media and art. Self-conscious strategies such as overtly Freudian symbols, flashback reconstructions of childhood traumas, Wagnerian orchestration and loaded cliches are wielded with deft irony.

Using the syntax of daytime soap operas, Green Card tells the story of Sumie, a Japanese artist who marries an American surfer/filmmaker to enable her to remain in the United States. When the couple’s views towards the agreement move in opposite directions, cultural differences and expectations become pronounced. Casting an ironic eye on the Los Angeles lifestyle and art scene of the early 1980s, this stylised narrative asserts that the delirium of Hollywood ‘reality’ has a manipulative impact on personal relationships.