Transcript: Exposures: The Art of Film and Video Program 1 | Jun 30, 2005

(music plays)
Fast clips on screen show blurry videos of people in tunnels and bridges. The bottom of the screen shows landscapes and cloudy skies. People appear on screen using old cameras.

A black slate reads "TVONTARIO and The Ontario Arts Council present" followed by the show’s title: "EXPOSURES. The Art of Film and Video."

Carolyn appears on screen. She’s in her late thirties. She has long dark hair and wears a red T-shirt. A caption reads "Carolyn Wong. YIN YIN and Jade Love."

Carolyn says IN 1990 WHEN MY
GRANDMOTHER DIED, IT WAS VERY
EMOTIONAL FOR ME, BECAUSE I
DIDN'T REALISE HOW MUCH I LOVED
HER UNTIL AFTER SHE HAD DIED.
IT WASN'T UNTIL
1993, THAT I ACTUALLY DECIDED TO
MAKE A FILM ABOUT HER, BASED
SOLELY ON THE FACT THERE WAS A
LOT OF SCATTERED, FADING
MEMORIES, CONTRADICTING STORIES
COMING UP FROM THE FAMILY ABOUT
HER, THAT I DIDN'T KNOW ABOUT
PREVIOUSLY.
SO I WAS KIND OF LIKE, WELL HEY,
WHY DIDN'T I KNOW THESE STORIES
BEFORE?
WHY DIDN'T I ASK HER MYSELF,
WHICH WAS THE BIGGEST REGRET.
SO I DID SOME RESEARCH, I
INTERVIEWED HER CHILDREN, WHICH
ARE MY AUNTS AND UNCLES, TO GET
THE NARRATIVE, TO GET HER STORY
TOGETHER, AND FIND OUT THE
TRUTH, YOU KNOW, ABOUT HER LIFE,
WHICH, I ACTUALLY DISCOVERED
THAT THE TRUTH IS IN THE EYE OF
THE BEHOLDER, THAT EVERYONE HAS
THEIR OWN PERCEPTION.
SO I JUST HAD TO SORT OF, TO THE
BEST OF MY ABILITY, PIECE
TOGETHER HER LIFE AND HER STORY,
ALSO MY SENSE OF LOSS.

(music plays)

A new slate reads "Hungry eyes. Film Food Incorporated presents a film by Carolyn Wong." Next, Carolyn’s grandmother appears in a black and white old photo. She has short curly white hair and wears glasses, a white blouse and a cardigan. The caption below reads "Yin Yin."

Next, the caption changes to "Yuk Oy" and a new picture appears. She’s younger and has short dark hair. She wears a hat, glasses and a shirt. Next is "Yin Yin. Jade Love," in her thirties. She has short wavy dark hair and wears a white blouse and a contrasting necklace.

A clip shows the view from a place of the fields down below along with the cloudy skies while in flight.

Carolyn says I KNEW THAT
YIN-YIN'S HEALTH HAD BEEN
FAILING THE LAST COUPLE OF
YEARS.
WHEN THE CANCER SURPASSED HER
STRENGTH AND SHE WENT INTO A
HOSPICE, MY HEART SANK.
I CALLED HER, AND I WAS
OVERWHELMED BY THE POSSIBILITY
OF NOT SEEING HER BEFORE THE
INEVITABLE.
IT WAS UNBEARABLE.
MY ONLY THOUGHT WAS, I'D BETTER
GO HOME TO SEE HER AT CHRISTMAS
BECAUSE IT COULD BE FOR THE LAST
TIME.
I TOLD HER, "WAIT FOR ME.
I'M COMING TO SEE YOU, OKAY?
DON'T GO... WAIT FOR ME."

(music plays)

Next, she drives a car and gets to a home. She approaches the main door.

Carolyn continues
WHEN MY GRANDMOTHER, WHO I
CALLED YIN YIN DIED, MY SORROW
WAS UNEXPECTEDLY DEEP AND
LENGTHY.
I LOVED HER MORE THAN I
REALISED.
FRAGMENTS, BITS AND PIECES OF
VAGUE MEMORIES, AND STORIES
ABOUT HER PAST EMERGED THROUGH
THE FAMILY.
INTRIGUING, CONTRADICTING AND
CONFUSING.
I WAS DISAPPOINTED IN MYSELF FOR
NOT HAVING ASKED HER MORE.
AND SADDER STILL, THAT IT WAS
ONLY FROM HER DEATH THAT I
DISCOVERED HOW LITTLE I KNEW
ABOUT HER LIFE.

The screen shows details of the house.

Carolyn continues
PRACTICALLY ALL MY MEMORIES OF
MY YIN YIN ARE WOVEN WITH HER
HOUSE WHICH SHE OWNED AND LIVED
IN FOR 45 YEARS.
AND NOTHING HAD CHANGED ABOUT IT
FOR JUST AS MANY.
IT MEANT THE WORLD TO HER.
I LOVED IT FOR ALL IT EMBODIED.

Yin Yin appears in the kitchen.

Carolyn continues
SHE WAS BORN, CHOW YUK OY ON
NOVEMBER 2nd, 1906 IN
VILLAGE OUTSIDE
CANTON IN SOUTHERN CHINA.
HER PARENTS WERE PEASANT
FARMERS, SHE HAD ONE MUTE
SISTER, AND WE THINK, TWO OR
THREE BROTHERS.
AT 2 YEARS OLD, HER MOTHER DIED.
BY 8, HER FATHER REMARRIED.
SHE WAS SOLD AS A SERVANT
PLAYMATE TO THE KWAN FAMILY, WHO
HAD 9 BOYS AND RAN A GROCERY
STORE IN CHINATOWN, VICTORIA B.C.
HER PURCHASE PRICE OF 300 DOLLARS
BECAME THE DOWRY FOR HER
BROTHER'S MARRIAGE.

(music plays)

Carolyn sits down for tea with Yin Yin and they talk. Next, a black and white picture shows Yin Yin in the early years followed by records in a book stating her last name.

Carolyn continues
HER SURNAME WAS CHANGED TO KWAN,
FROM SHAN KU LENG VILLAGE,
ALLOWING HER TO ENTER CANADA AS
A RETURNING CHINESE BORN
CANADIAN, AND EXCLUDED FROM THE
HEAD TAX.
THE KWANS WERE VERY KIND TO HER,
AND UNLIKE MANY OTHER GIRLS
SOLD, WAS NOT MISTREATED.
MY AUNT BETTY TOLD ME THAT
BEFORE HER DUTIES, THEY MADE
SURE AFFECTIONATELY
BRUSHED AND SMOOTHED YIN YIN'S
HAIR NEATLY.
YIN YIN WAS OBEDIENT, WELL
BEHAVED, AND CONSIDERED VERY
TRUSTWORTHY.
SHE WAS GIVEN THE RESPONSIBILITY
TO RETRIEVE THE OPIUM FROM THE
STASH HIDDEN UNDER THE STOVE, A
DUTY THAT WAS UNHEARD OF FOR A
CHILD, LET ALONE A GIRL.
THE CHERRY TREE AT THE SIDE OF
THE HOUSE WAS THE BEST.
BRAVELY, MY SISTERS AND I WOULD
SCALE THE ROOF IN ORDER TO GET
AT THE FRUIT.
THOUGH THE PEAR TREE IN THE BACK
DIDN'T PRODUCE VERY NICE FRUIT,
YIN YIN SAID IT WASN'T THE RIGHT
KIND OF SOIL.
ON BIRTHDAYS AND HOLIDAYS, I
QUIETLY LOOKED FORWARD TO THE
LITTLE RED ENVELOPES WITH MONEY
TUCKED IN THAT WOULD BE YIN
YIN'S GIFT.

An old clip shows Carolyn and her sisters opening presents next to the Christmas tree.

Carolyn continues
MY GRANDFATHER, JACK, FE LUNG
WONG, WHO I CALLED YE-YE,
ARRIVED IN VICTORIA IN 1905 AT
16 YEARS OLD ON A BUSINESS
SPONSORSHIP BY THE KWANS.
HE BECAME A MIX OF STOCK BOY,
BOOKKEEPER AND COOK.
HE WAS ALSO A RUNNER FOR THE
GAMBLING DENS THAT TOOK PLACE IN
THE BACK ROOMS OF CHINATOWN.
AT 27, YE YE RETURNED TO CHINA
FOR AN ARRANGED MARRIAGE TO KWAN
CHAN YUE, KNOWN AS FIRST WIFE.
HE PURCHASED 3 ACRES AND A HOUSE
IN THE FAMILY VILLAGE OF
FOR THEIR EVENTUAL FAMILY.
BUT CHAN YUE COULD NOT BEAR
CHILDREN.
YE YE RETURNED TO VICTORIA AND
SHE REMAINED.

New clips show the family at dinner, talking and laughing while kids play around.

Carolyn continues
YE YE WAS A GRUFF MAN OF LITTLE
DISTINCTION, AND DID NOT INDULGE
IN MUCH CONVERSATION, PREFERRING
TO SPEND TIME IN CHINATOWN WITH
HIS FRIENDS, GAMBLING, BOOZING,
SMOKING CIGARETTES AND OPIUM.
HIS FONDNESS FOR PROFANITY
CEASED ONLY ON HIS BIRTHDAY AND
NEW YEARS.
THERE WAS AN OLD SHED IN THE
BACK YARD.
THE SLASHES OF LIGHT WHICH FELL
BETWEEN THE CRACKS REVEALED
LITTLE.
AMONG UNKNOWN DARK AND SCARY
THINGS, YIN YIN KEPT HER GARDEN
TOOLS AND OLD BIKE.
I AVOIDED GOING IN AT ALL COSTS.
SHE CUT HER LAWN WITH A PUSH
MOWER, THEN ON HER KNEES,
METICULOUSLY TRIMMED THE EDGES.
BUT THE FLOWER BEDS AND THE
VEGETABLE GARDEN WERE HER REAL
PRIDE AND JOY.
EDUCATION FOR GIRLS IN THE
CHINESE COMMUNITY WAS NOT
ENCOURAGED.
YIN YIN WAS NO EXCEPTION.

A series of old picture show the house, the garden and Yin Yin when she was young.

Carolyn continues
IN SPITE OF THIS, SHE ACQUIRED
HER BASIC READING AND WRITING
SKILLS BY LOOKING OVER THE KWAN
BOYS' SHOULDERS AS THEY STUDIED.
GROWING UP, SHE SPENT TIME WITH
GIRLFRIENDS, COMMUNITY
ORGANISATIONS, AND CHURCH
GROUPS, SOON BLOSSOMING INTO AN
ATTRACTIVE AND FASHIONABLE YOUNG
WOMAN.
HER ATTRIBUTES DID NOT GO
UNNOTICED BY MY FUTURE
GRANDFATHER.
MY GRANDPARENTS WERE FIRST
INTIMATE WHEN SHE WAS 14.
YIN YIN CLAIMED IT WAS AGAINST
HER WILL.
TWO YEARS LATER, IN 1921, AFTER
PAYING THE KWAN FAMILY WHAT IT
COST TO BRING HER OVER, JACK, AT
32, TOOK YUK OY AS A SECOND
WIFE.
ON HER BUREAU WERE HER FAVOURITE
CHINESE OPERA RECORDS.
THE CHARACTERS' LIPS EQUALLED
THE COLOUR OF THE VINYL.
ALONGSIDE LAY HER ELEGANT
BRISTLED HAIRBRUSH, HAND MIRROR,
FACE POWDERS AND LIPSTICK.
SEVERAL YEARS AFTER THE
MARRIAGE, THEY MOVED TO ONTARIO,
WHERE YE YE WORKED AT ONE OF THE
KWAN'S STORES, SETTLING BRIEFLY
IN TORONTO, THEN FINALLY IN
BRANTFORD.
YE YE'S HABITS PREVENTED HIM
FROM STEADY EMPLOYMENT.
MONEY WAS SCARCE AND HE LACKED
CONCERN OVER ANY CONSEQUENCE TO
YIN YIN.
MY FATHER SAID THAT AFTER
COMPLAINING ABOUT THIS, YE YE
ONCE TOLD HER, "YOU WANT MONEY?
WHY DON'T YOU GO PEDDLE YOUR ASS
ON YONGE STREET TO GET SOME?"
YE YE WAS NOT GOING OUT OF HIS
WAY TO CONTRIBUTE.

As she speaks, the clip on screen shows Carolyn moving around the house, visiting the different rooms.

Carolyn continues
THE MARRIAGE HAD BEEN ARRANGED
AND CONTROLLED BY JACK.
THERE WAS NOT A MUTUAL UNION,
NOR DID LOVE HAVE ANYTHING TO DO
WITH IT.
YIN YIN WAS TO BEAR CHILDREN AND
RAISE THEM.
SHE DID HER DUTY.

A clip shows three little kids eating.

Carolyn continues
VIVIEN WAS BORN, AND NINE MONTHS
LATER, DIED OF DOUBLE PNEUMONIA.
TRADITIONALLY, THE CHINESE DON'T
FEED THE SICK ANY FRESH FRUIT OR
VEGETABLES.
YE YE FED VIVIAN A BANANA.
HER DEATH WAS UNAVOIDABLE, BUT
YIN YIN BLAMED AND NEVER FORGAVE
HIM.
AT AGE 22, SHE GAVE BIRTH TO
BETTY, FOLLOWED BY DONALD, AND
WILLIAM, MY FATHER.

Old black and white pictures show them as kids followed by a picture of a cat by the door.

Carolyn continues
SHE FED THE WILD CATS THAT
WANDERED INTO HER YARD.
MY SISTERS AND I WOULD TRY TO
CATCH THEM WITH BAIT, BUT THEY
WERE ALWAYS TOO FAST, AND WE
NEVER CAUGHT ONE.
IN THE '30s THE DEPRESSION
REIGNED.
THE FAMILY LIVED IN POVERTY.
TO MAKE MATTERS WORSE, THE
CHINESE WERE EXCLUDED FROM
GOVERNMENT SOCIAL ASSISTANCE.
THAT ASIDE, YIN YIN DIDN'T GET
ANY EMOTIONAL SUPPORT FROM YE
YE.
THEN, YE YE GOT ARRESTED FOR
OPIUM.
IT'S UNCLEAR WHETHER IT WAS FOR
POSSESSION OR SMOKING.
EITHER WAY, HE WAS CHARGED.
THE WONG CLANS FROM BRANTFORD
AND DUNDAS AREA PUT UP THE MONEY
FOR BAIL AND COURT PROCEEDINGS.
THEY WON THE CASE AND HE SPENT
NO TIME IN JAIL.

An old clip shows a person putting food on a trap and cats walking around it.

Carolyn continues
EVENTUALLY HE KICKED HIS OPIUM
HABIT, BUT THE FAMILY IS NOT
AWARE EXACTLY WHEN.
AFTER THIS INCIDENT, YIN YIN
WANTED A CHANGE AND DECIDED TO
GO TO CHINA.
THERE, SHE COULD LIVE AT THE
FAMILY HOME WITH FIRST WIFE.
SHE HOPED THE SEPARATION WOULD
GET YE YE TO CHANGE HIS BAD
WAYS.
WITH BORROWED MONEY, YIN YIN,
SEVERAL MONTHS PREGNANT WITH
DANIEL, TOOK BETTY, DONALD AND
WILLIAM.
ARRIVING LATE SUMMER OF 1932, IN
WO PING VILLAGE.
YE YE RETURNED ALONE TO
VICTORIA.

(music plays)

A new clip shows what looks like a vacation trip with the kids having fun and posing for pictures as they travel by car.

Carolyn continues
IN THE CULTURAL SYSTEM, YIN YIN
HAD NO STATUS AS SECOND WIFE.
THERE WERE NO PLEASANTRIES AND
WAS TREATED BADLY.
FIRST WIFE'S INABILITY TO BEAR
CHILDREN AGGRAVATED THE
SITUATION.
IMMEDIATELY THE CHILDREN WERE
TOLD TO ADDRESS YIN YIN AS
AUNTIE, AND FIRST WIFE AS
MOTHER.
SHE REFUSED THIS TRADITION.
DANIEL WAS BORN IN MARCH OF '33.
YIN YIN RECALLED BITTERLY BEING
FORCED DIRECTLY AFTER BIRTH TO
DO THE WASHING BY THE RIVER.
WHEN DONE, MORE APPEARED.
IT JUST ABOUT KILLED HER.
SHE ENDURED MANY HARDSHIPS
DURING HER STAY IN CHINA, AND
OFTEN RELAYED THIS TO HER
CHILDREN OVER THE YEARS.
SHE COULD TALK FOR AGES ON THE
PHONE.
MY DAD WOULD DRIVE ACROSS TOWN
TO HER HOUSE, AND SHE'D STILL BE
TALKING.
I'D LISTEN TO HER AS SHE SPOKE
TO HER FRIENDS IN CHINESE,
AWESTRUCK AS TO WHY EVERY
CONVERSATION SOUNDED MORE
EXCITABLE AND DRAMATIC THAN THE
LAST.
THERE WAS A HUSHED RUMOUR
AMONGST US GRANDCHILDREN.
WE HEARD, FOR REASONS UNKNOWN,
YIN YIN HAD TO ABANDON UNCLE
DONALD AND UNCLE DANIEL IN CHINA
WHEN THEY WERE LITTLE.
LIVE WAS MISERABLE UNDER FIRST
WIFE.
HOWEVER, YE YE HAD NO INTENTION
OF SUPPORTING A FAMILY IN
CANADA.
WITHOUT YIN YIN'S KNOWLEDGE,
INSTRUCTIONS HAD COME FROM HIM
TO TAKE HER PASSPORT AWAY.
THESE ATTEMPTS FAILED.
SHE WAS DESPERATE TO RETURN TO
VICTORIA.
THIS WAS INTENSIFIED BY THE
THREAT OF THE INVADING JAPANESE
NEARING THEIR PROVINCE, CAUSING
FEAR AND CHAOS.
BUT A VISIT HER FAMILY'S
VILLAGE, SHE RAN INTO A FRIEND
FROM VICTORIA.
AFTER DISCLOSING HER UNHAPPY
SITUATION, HE KINDLY LENT HER
MONEY TO RETURN.
SHE COULD ONLY AFFORD TO TAKE
TWO OF HER CHILDREN.
RETURNING WOULD BE BETTY, WHO IF
LEFT BEHIND WOULD DEFINITELY BE
SOLD INTO SLAVERY, A CONCUBINE
OR WORSE, AND WILLIAM, WHO WAS
SMALL AND SICKLY.

A black and white picture of the two boys appear over a film that shows the sea on a sunny day.

Carolyn continues
UNDER CLOAK OF DARKNESS, THEY
SNEAKED OUT OF HOUSE AND VILLAGE
LEAVING DONALD, WHO WAS 4, AND
DANIEL AT 6 MONTHS, TO BE RAISED
BY FIRST WIFE.
SHE HAD THIS REALLY NEAT OLD
SEWING MACHINE, BUT I RARELY
WITNESSED HER USING IT.
I WONDERED AT THE SKILL INVOLVED
TO WORK IT.
HER ARRIVAL IN VICTORIA, LESS
THAN A YEAR AFTER SHE HAD LEFT,
WAS AN UNEXPECTED SHOCK FOR
YE YE.
HIS LIFE STILL HADN'T CHANGED IN
HER ABSENCE.
HE MADE IT CLEAR TO YIN YIN THAT
HIS RESPONSIBILITIES WENT SO FAR
AS BRINGING HOME THE GROCERIES.
THE REST WAS UP TO HER.
YE YE COULD BARELY KEEP FOOD IN
THEIR MOUTHS, LET ALONE MAKE
RENT.
WHAT EXTRA MONEY HE HAD WAS SENT
TO THE FAMILY IN CHINA.
THERE WAS A CONSTANT THREAT OF
THE CHILDREN BEING TAKEN AWAY
FROM HER, AND PUT INTO FOSTER
HOMES.
HAVING HAD TO LEAVE TWO OF HER
CHILDREN, SHE WASN'T GOING TO
LET THAT HAPPEN.
SHE REALISED THAT DEPENDING ON
HER HUSBAND WAS NOT AN OPTION.
IN THE LAUNDRY ROOM FLOOR, I HOP
SHAPE TO SHAPE ON THE PATTERN,
CAREFUL NOT TO TOUCH THE
OUTLINE.
WHEN I ENTERED THE KITCHEN, I'D
LOOK UP, WONDERING IF THE
CLOTHES HANGING WOULD DRIP WATER
ON ME.
HER BEDROOM WAS A PRIVATE PLACE.
IT NEVER OCCURRED TO ME TO
ENTER.
BUT ONE TIME, OUT OF CURIOSITY I
SLIPPED IN, EVER SO BRIEFLY, FOR
I WAS SCARED TO GET CAUGHT, AND
I DIDN'T WANT TO OFFEND HER.
YIN YIN WORKED TWO JOBS.
DURING THE DAY, LABOURED AT
PICKING FRUIT, VEGETABLES, AND
DROVE A DELIVERY PICK UP TRUCK
TO VARIOUS PRODUCE FARMS.
EVENINGS WERE SPENT ON PIECEWORK
FOR A TAILOR.
IN BETWEEN WORK, SHE CARED FOR
THE CHILDREN.
LATE INTO THE NIGHT, SHE DID
HOUSE CHORES.
THIS SCHEDULE WENT ON FOR MANY
YEARS, AND YIN YIN NEVER PASSED
ON AN OPPORTUNITY TO MAKE MONEY.
YEARS LATER, WHEN THE FAMILY
PURCHASED A CAR, MY FATHER SAID
SHE EVEN TAXIED HER FRIENDS
AROUND FOR EXTRA CASH.

The clip continues to show the different rooms of the old house.

Carolyn continues
AS SOON AS THE CHILDREN WERE OLD
ENOUGH, SHE SENT THEM TO WORK.
CLOTHES WERE NOT PURCHASED.
YIN YIN WOULD TAKE MEN'S
DISCARDED SUITS, WASH AND TEAR
THEM APART, REPRODUCING BY EYE,
THE LATEST FASHIONS FOR HERSELF.
USED CLOTHING AND SCRAP MATERIAL
MADE OUTFITS FOR THE CHILDREN.
MY FATHER TOLD ME, WHILE HE WAS
GROWING UP, HE THOUGHT A GLASS
OF WATER FOR BREAKFAST WAS
NORMAL, AND THAT AN EGG WOULD BE
CUT IN FOUR AND SHARED BETWEEN
THEM.
HIS STORIES OF BEING POOR AND
HUNGRY, THAT I TOOK AS AN
EXAGGERATED FORM OF DISCIPLINE,
WERE TRUE.
I LOVED HAVING SUNDAY DINNERS AT
YIN YIN'S.
CROWDED AROUND THE TABLE IN HER
COZY KITCHEN, WE FILLED
OURSELVES WITH THE BEST HOME
COOKED FOOD.
YIN YIN DOMINEERED OVER THE
HOUSEHOLD, INSTILLING HER
DISCIPLINED ETHICS INTO THE
CHILDREN, AND WAS STRICT.
SHE WANTED THEM TO HAVE A BETTER
LIFE THAN SHE HAD.
AND THE ONLY WAY TO GET AHEAD
WAS THROUGH HARD WORK, MONEY AND
EDUCATION.
THE SUMMER OF 1934, SHE BECAME
PREGNANT WITH EUGENIA.
YIN YIN BOUND UP HER STOMACH TO
HIDE IT FROM THE BOSS, IN ORDER
TO KEEP HER JOB.
A WEEK BEFORE GIVING BIRTH, SHE
STOPPED WORKING.
WITH THE NEW YEAR, SHE WAS
PREGNANT AGAIN.
SHE COULDN'T AFFORD TO STOP
WORKING, SO THIS TIME, SHE MADE
SURE THE TWINS SHE CARRIED WOULD
BE STILLBORN.

A new clip shows Yin Yin by the door smiling. People talk around her as they record a film.

Carolyn continues
IN 1941, YIN YIN MOVED THE
FAMILY TO 950 MASON STREET.
DETERMINED TO PROVIDE A
PERMANENT HOME FOR HER FAMILY,
SHE PURCHASED IT THREE YEARS
LATER.
YIN YIN WAS 39 YEARS OLD.
MY GRANDPARENTS NO LONGER SHARED
A BED.
YIN YIN CHARGED YE YE ROOM AND
BOARD TO COVER UTILITIES.
WHEN HE COMPLAINED ABOUT HER
COOKING, SHE REPLIED, "IF YOU
DON'T LIKE IT, DO IT YOURSELF."
FROM THEN ON, UNTIL HE WAS
UNABLE, HE CAME HOME AT NOON TO
COOK LUNCH, AND DINNER WHICH WAS
SERVED AT 6 P.M. SHARP.

A series of old pictures show Yin Yin among other women posing for photos in groups.

Carolyn continues
LIKE A LOT OF CHINESE WOMEN, YIN
YIN WAS INVOLVED WITH SOCIAL
GROUPS IN THE CHINESE COMMUNITY.
DURING THE SINO-JAPANESE WAR,
SHE ACTIVELY PARTICIPATED IN
TEAS, BAZAARS AND TAG DAYS
RAISING MONEY TO PURCHASE WAR
BONDS AND RELIEF FUNDS FOR THE
REFUGEES.
SHE SUPPORTED CHIANG KAI-SHEK.
IN 1962 AND 72, TRAVELLED TO
TAIPEI FOR THE DOUBLE TENTH
ANNIVERSARY OF HIS VICTORY.
SOME TIME IN THE EARLY '40s, YIN
YIN BEGAN AN AFFAIR.
JOE WAS A HANDSOME WELL DRESSED
MAN, FIVE YEARS HER JUNIOR.
THEIR RELATIONSHIP WAS NOT
DISCREET.
JOE RAN A TAXI COMPANY FROM A
CORNER STORE PAY PHONE IN
CHINATOWN.
HE LIKED MONEY, PLAYED THE
VIOLIN AND HAD A WIFE IN CHINA.
AND ACCORDING TO SOME, NOT TO BE
TRUSTED IN BUSINESS.
GARY WAS BORN IN DECEMBER OF
1945.
THE SITUATION HUMILIATED THE
FAMILY.
YE YE KNEW NOTHING COULD BE
DONE, AND CONTINUED TO LIVE AT
THE HOUSE.
THE CHILDREN DIDN'T TAKE WARMLY
TO UNCLE JOE, BUT WERE IN NO
POSITION TO COMMENT ON WHAT WAS
CONSIDERED AN ADULT MATTER.
GARY WAS ACCEPTED AS THEIR
BROTHER HESITATION.
IT'S NOT KNOWN EXACTLY THE
LENGTH OF TIME YIN YIN AND JOE
WERE IN A ROMANTIC RELATIONSHIP.
THOUGH IT DIMINISHED WITH TIME,
JOE REMAINED AN INFLUENCE INTO
GARY'S ADULT LIFE.
YIN YIN FELT SAFE DRIVING HER
FOUR DOOR V8 BUICK.
EVEN ON PILLOWS, SHE COULD
BARELY SEE OVER THE STEERING
WHEEL.
I TRIED TO MAKE HER PROMISE TO
LET ME DRIVE IF WE WENT ANYWHERE
TOGETHER.
SHE WAVED OFF ANY OF MY NOTIONS.
SHE ALWAYS OFFERED TEA ON
VISITS.
IT WAS AN EFFORT TO DRINK,
BECAUSE SHE PUT SEVERAL HEAPING
SPOONFULS OF SUGAR IN IT.
I DON'T THINK I FINISHED AN
ENTIRE CUP.
OVER THE YEARS DONALD AND DANIEL
IN CHINA RECEIVED REGULAR
LETTERS FROM YE YE.
IN 1947, AT 18, DONALD RETURNED
TO CANADA.
DANIEL CAME FOUR YEARS LATER,
WHEN HE, TOO, WAS 18.
YE YE HAD SENT FOR THEM AND PAID
FOR BOTH PASSAGES.
TO HELP SECURE DANIEL'S
ENTRANCE, MY GRANDPARENTS
SECURED THEIR CANADIAN
CITIZENSHIP.

A picture shows the certificate of the Canadian citizenship.

Carolyn continues
AT LAST THE BROTHERS JOINED
THEIR FAMILY.
THEY RESPECTED YIN YIN AS THEIR
BIRTH MOTHER, AT THE SAME TIME,
RETAINED THEIR FEELINGS OF
RESPONSIBILITY TO FIRST WIFE,
THE MOTHER THAT RAISED THEM.
IN ALL THE YEARS OF SEPARATION,
YIN YIN HAD NOT SENT ONE LETTER
TO THEM IN CHINA, NOT EVEN
BIRTHDAY CARDS.
HER RESPONSE OF, "YOUR FATHER
CAN WRITE JUST AS WELL... TOO
BUSY," GAVE UNCLE DONALD NO
SATISFACTION.
DONALD AND DANIEL BUILT A LARGE
DUPLEX HOUSE, AND THREE YEARS
LATER WITH YE YE, ARRANGED FOR
FIRST WIFE TO COME TO CANADA IN
1962 TO LIVE WITH THEM.
NONE OF THESE PLANS WERE
ANNOUNCED TO THE REST OF THE
FAMILY.
THEY FOUND OUT THE DAY SHE
ARRIVED AT THE AIRPORT.
THE CANADIAN RAISED SIBLINGS
WERE ANGERED AT HOW THEY COULD
ACCOMMODATE "THAT WOMAN," OVER
THEIR MOTHER.
THE CHINA RAISED SIBLINGS, ASIDE
FROM WANTING TO, SAW IT AS THEIR
OBLIGATION TO HER.
YIN YIN WAS INSULTED AND HURT.
THE INCIDENT JUST ABOUT SPLITS
THE FAMILY.
I OFTEN WONDERED WHO THAT LITTLE
OLD LADY WAS LIVING AT MY
COUSINS'.
NO ONE EVER TOLD US.
SHE WAS BARELY NOTICED AT FAMILY
GATHERINGS, DISAPPEARING INTO
HER ROOM AS QUIETLY AS SHE
APPEARED.
THE TWO WOMEN MET ON A FEW
OCCASIONS.
IT WAS DIFFICULT FOR YIN YIN TO
FACE FIRST WIFE, WHO SHE ALWAYS
CLAIMED TRIED TO KILL HER.
HOWEVER, THEIR CONVERSATIONS
WERE CORDIAL.
YIN YIN EVEN EXPRESSED GRATITUDE
TO FIRST WIFE FOR HAVING RAISED
HER SONS.

A new picture show the two women sitting by the table with other people.

Carolyn continues
ONCE HAVING TEA WITH YIN YIN,
SHE TOLD ME, "YOU ARE A WOMAN,
BE INDEPENDENT, DON'T RELY ON A
MAN TO MAKE YOU WHO YOU ARE."
IN THE 1970s, YIN YIN DEVELOPED
A LUMP.
HER LEFT BREAST WAS REMOVED.
THE RADIATION TREATMENT BURNED
HER.
AGE AND YEARS OF SUBSTANCE ABUSE
CAUSED YE YE'S PHYSICAL HEALTH
TO DECLINE.
WITHOUT BLADDER CONTROL, YIN YIN
COULDN'T AND DIDN'T WANT TO TAKE
CARE OF HIM.
HE WAS PUT IN A HOSPICE.
THREE YEARS LATER, IN 1974, HE
DIED.
I WAS 14 WHEN YE YE DIED.
MY STRONGEST MEMORIES OF HIM
WERE HIS COURSE WHISKERS, FUNNY
COUGHS AND THE SCENT OF PIPE
TOBACCO ON HIS CARDIGAN.
HE SPOKE NO ENGLISH.
I WISH I HAD MORE RECOLLECTION.
AT THE FUNERAL, THERE WAS
WAILING AT THE CASKET, BUT I
DIDN'T UNDERSTAND.
I CAN'T RECALL Y YIN'S
REACTION.
TEN YEARS AFTER HER FIRST
MASTECTOMY, A LUMP APPEARED IN
HER OTHER BREAST, AND IT SPREAD
TO HER ARM, WHICH SWELLED,
GIVING HER CONSTANT PAIN AND
DISCOMFORT.
YEARS BEFORE SHE DIED, YIN YIN
MADE ALL HER OWN FUNERAL
ARRANGEMENTS.
SELECTING A PLOT WITH A VIEW
OVERLOOKING THE GROUNDS, A SOLID
CASKET, HER WARDROBE, AND A
PURSE COMPLETE WITH RED LIPSTICK
AND COMPACT.
SHE REPLACED THE USUAL BLAND
FUNERAL DINNER WITH ALL HER
FAVOURITE FOODS.
I ASKED HER WHY SHE DIDN'T GET A
PLOT BY YE YE.
WITH A WAVE OF HER HAND, SHE
SAID, "HE MADE ME MISERABLE ALL
MY LIFE.
THE LAST THING I WANT TO DO IS
BE BURIED BESIDE HIM."
I WAS SPEECHLESS.
I HAD ALWAYS BEEN UNDER THE
IMPRESSION THAT EVERYTHING HAD
BEEN FINE IN THEIR MARRIAGE.
IN THAT MOMENT, EVERYTHING I
BELIEVED ABOUT HER AND THEIR
RELATIONSHIP WAS TURNED AROUND.
WHEN THE CANCER SURPASSED HER
STRENGTH AND SHE WENT TO THE
HOSPICE, MY HEART SANK.
I CALLED AND TOLD HER I WAS
COMING HOME AT CHRISTMAS TO SEE
HER.
I WAS AFRAID IT COULD BE FOR THE
LAST TIME.

A new series of pictures show Yin Yin in different occasions.

Carolyn continues
I ENTERED THE ROOM.
THERE SHE WAS, LYING IN THE BED,
BODY IN AN AWKWARD HALF BACK AND
SIDE TWISTED POSITION, BLANKETS
AND SHEETS PULLED OVER HER IN A
WAY THAT CAN ONLY BE DONE BY
SOMEONE WHO TENDS, NOT IN A
COMFORTABLE SNUGGLE BY ONESELF.
HER HEAD CROOKED TO THE LEFT,
MOUTH GAPING, AND EYES CLOSED.
I TRIED TO BE STRONG, BUT MY
BODY BETRAYED ME.
THE PAIN IN MY CHEST ERUPTED
INTO UNCONTROLLABLE SPASMS OF
SOBBING.
ALL I COULD THINK OF WAS THAT I
MUST BE UPSETTING HER, MUST STOP
CRYING.
I GENTLY STROKED HER HAND,
CHOKING BACK THE TEARS.
HER BEAUTIFUL HAND, THE SKIN
LOOSE, FLESH BLOATED, AGE SPOTS
RANDOMLY SCATTERED.
SHE WASN'T GOING TO GET BETTER,
OR TURN INTO THE GRANDMOTHER I
SO DESPERATELY WANTED TO SEE.
A FEW DAYS LATER, A SNOWFALL
COVERED VICTORIA.
THAT EVENING SHE DIED.
"WAIT FOR ME.
I'M COMING TO SEE YOU, OKAY?
DON'T GO... WAIT FOR ME.
I WANT TO TELL YOU HOW MUCH I
MISS YOU, HOW MUCH I LOVE YOU.
I'M SO SORRY I DIDN'T SPEND MORE
TIME WITH YOU.
DON'T LEAVE ME."

Music plays and the end credits roll.

Written and directed by Carolyn Wong.

Produced by Jennifer Holness and Carolyn Wong.

Copyright 2002, Carolyn Wong.

A new episode starts. Janet appears on screen.

She’s in her late twenties. She has long dark wavy hair down to the shoulders and wears a beige beret and a black blouse. The caption changes to "Janet Csontos. My bike is gone!"

Janet says THE SHRINKING
MAN IS A CHARACTER THAT I HAD
BEEN WORKING ON FOR YEARS IN
PAINTINGS.
AND THIS VIDEO SHOWS THE FINAL
WRAP UP OF THIS CHARACTER FOR
ME AND HE
REPRESENTS A FEW THINGS, BUT
PRIMARILY HE WAS A CARICATURE OF
THE PEOPLE THAT YOU WOULD SEE IN
THE NEWS WHO ARE IN POSITIONS TO
DO THINGS THAT THEY REALLY
SHOULDN'T BE DOING, AND SO I
WOULD TAKE WHOEVER IT IS, AND
TURN THEM INTO THE SHRINKING
MAN.
AND I WOULD TURN HIM INTO A
SHRIVELLED UP LITTLE PALE GUY
AND SUBJECT HIM TO UNCOMFORTABLE
LITTLE WEIRD SITUATIONS THAT
WOULD DRIVE ANYONE NUTS
EVENTUALLY.
SO...
WHAT I'M DOING NOW, I'M DOING A
LOT OF COMIC STRIPS, AND I FIND
THAT THAT'S A REALLY GOOD WAY TO
DEAL WITH FRUSTRATING
SITUATIONS, PEOPLE THAT MIGHT BE
GETTING ON YOUR NERVES, TO JUST
GO HOME AND DO SOME DRAWINGS,
MAKE FUN OF THE WHOLE THING.
IF I WERE TO DO ANOTHER FILM, IT
WOULD DEFINITELY BE AN
ADAPTATION OF ONE OF THE COMICS
I'M DOING NOW, BUT WITH LIVE
ACTORS.
KIND OF LIKE THE GHOST WORLDS
MOVIE WHERE THEY ADOPTED DANIEL
PO'S COMMENTS.
I REALLY LIKED THAT, AND THAT'S
THE KIND OF THING THAT I COULD
SEE MYSELF DOING.
(electronic music plays)

An animated clip plays on screen.

A human figure gives giant steps. Next, a fast clip goes inside him through the mouth and then back out. He appears back again falling down a tunnel. The title reads "The shrinking man. Stomach girl. My bike is gone!"

The man rides a bike. He stops when he sees a woman walking in the distance. They get closer.

Next, the woman sits down and the man approaches her. When getting near, he stumbles and flies in the air. Next, he falls through the stomach and lands on a strange place. Nothing around. A beeping sound plays.

The man wakes up and stands up. He looks around. An echoing voice speaks. The man opens his mouth as if he were to scream, but no sound is made. He frowns.

Next, the screen shows a beating heart and the caption changes to "Janet Csontos."

The end credits roll.

A logo appears next to Ontario Arts Council.

Benny appears next as a new episode starts. He’s in his thirties. He has short dark hair and is clean-shaven. He wears a dark grey jacket. The caption changes to "Benny Nemerofsky Ramsay. White."

Benny says "WHITE" IS MY FIRST FILM, AND MY
FIRST EXPERIMENT IN MOVING
IMAGE.
AND LIKE MOST OF MY WORK, IT HAS
A VERY PERSONAL STARTING POINT.
IN THIS CASE, THE DEATH OF MY
GRANDFATHER DURING A PERIOD WHEN
I WAS VERY ACTIVELY EXPLORING MY
JEWISH IDENTITY THROUGH LEARNING
THE YIDDISH LANGUAGE AND THROUGH
GENEALOGICAL TRAVEL AND
SO "WHITE" IS SORT OF A POETIC
ABSTRACT DOCUMENT OF THIS TIME,
USING COLLAGE OF BLACK AND WHITE
IMAGES, A POEM TRANSLATED INTO
SORT OF FLAWED YIDDISH, AND A
MOURNFUL VIOLIN SOUND TRACK ALL
WORKING TOGETHER TO EXPRESS A
KIND OF DESIRE TO REACH BACK
INTO TIME AND TO TOUCH A PLACE
WHERE MY ANCESTORS ARE FROM.
AND IT'S INTERESTING TO LOOK AT
IT NOW, BECAUSE IT’S THE SORT OF
FIRST EMERGENCE OF CERTAIN
THEMES THAT CONTINUE TO EXIST IN
MY WORK, LIKE THE TESTING OF THE
TRANSLATABILITY OF EMOTIONS INTO
LANGUAGE, AND USING MYSELF AS A
PERFORMER IN A KIND OF VIDEO
SELF PORTRAITURE.

(music plays)

On a dark screen the title appears: "White. A film by Benjamin Nemerofsky Ramsay."

Blurry black and white images play on screen. A caption reads "Nora enters."
[Violin music begins]

Benny speaks and the script appears translated on screen. It reads "Where have my white clothes gone? I had white shirts, a white robe, my white socks, my white gloves, and my favourite white scarf from vitebsk."

Fast clips show images of white clothing.

Benny continues and the caption reads "Her lost eyes dart across the room as though the clothes might be found hanging off the lamps, or draped over the television: white! White! White!"

As he speaks, the screen shows a short clip of a woman in a white dress running in the forest. Next, a man appears naked and running, too.

The caption changes to "She sighs, and looks out the window, where the clothes could of course never be. She searches the sky, the trees, the voices of sympathetic birds; They’re gone. My lovely clothes are gone."

A close up to new white clothes follows and the end credits roll as the violin continues to play.

Writer, director and producer, Benjamin Nemerofsky Ramsay.

In loving memory of Norman Nemerofsky (1919-1996.)

White was made possible by the financial support of the Ontario Arts Council.

Next, Zachary appears on screen as a new episode starts. He’s in his thirties. He has short dark hair neatly combed and is clean-shaven- he wears a blue shirt. The caption changes to "Zachery Longboy. The stone show."

Zachary says THE WORK
COMES FROM A SERIES OF WORKS
CALLED, "RECREATION OF A BETTER
INDIAN," AND "THE STONE SHOW" IS
A DIRECT RESPONSE TO A VIDEOTAPE
CALLED, "CONFIRMATION OF MY
SINS," WHICH IS ABOUT MY WHITE
MOTHER WHO RAISED ME FROM THE
AGE OF 2 MONTHS. I WAS AT A
SCREENING, AND AN ABORIGINAL
PERSON TOLD ME THAT I COULDN'T
GO BACK TO MY ROOTS BECAUSE I
WAS RAISED IN WHITE CULTURE.
AND IN DIRECT RESPONSE, I MADE,
"CONFIRMATION OF MY SINS," TO
WASH AWAY THOSE SINS OF BEING
RAISED.
WHEN I FINISHED THAT, I WANTED
TO CREATE A MEMORY OF MY
GRANDMOTHER WHO I'D ONLY MET
ONCE.
AND THROUGH THE HELP OF MY
MOTHER AND MY BROTHERS, WE
CREATED "THE STONE SHOW," THROUGH
A SERIES OF PERFORMANCE WORKS,
AND A MEMORY OF MY GRANDMOTHER.
IT'S NOT MY MEMORY, IT'S MY
MOTHER'S AND MY BROTHERS', BUT I
DO TRY TO TAKE OWNERSHIP OF IT,
BECAUSE WE HAD ONLY MET ONCE,
AND THAT'S THE ONLY MEMORY THAT
I HAVE, IS WHAT WE HAVE CREATED.

The screen shows a close up to a red taftan fabric with a brooch in the middle. Two voices, a male and a female, speak on the telephone.

The Man says HELLO.

The Woman says HI.

The Man says HI.

The Woman says HOW ARE YOU?


The Man says GOOD, HOW ARE YOU?

The Woman says I'M FINE.
I RECEIVED A PHONE CALL TODAY.

The Man says OH YEAH.

The Woman says SO WHEN ARE YOU GOING
HOME?

A black and white clip shows a person taking stones from a container and dropping them into another. Next, the engines of a vehicle sound as the screen shows footage of a small town covered by the snow. The clip is being made by a person sitting on the back of the vehicle.
(drums and chanting play)

The screen shows the stones underneath the water of a river. The screen splits in two and both sides show details of fur. The center slides black and white pictures of women. Next, a new series of pictures show a woman in her sixties at home, on the sofa or in the kitchen.

A voice narrates
SHE LIVED IN DUCK LAKE
AND CARIBOU LAKE, NORTH KNIFE
LAKE, AND NORTH RIVER.
LIKE SHE ALWAYS FOLLOWED THE
PEOPLE THAT WERE CALLED,
ACCORDING TO HER, THE CARIBOU.
SO WHEREVER THE CARIBOUS WERE,
THE PEOPLE MOVED THROUGH THE
WINTER, AND THINGS LIKE THAT.
AND SHE-- SHE ALWAYS MADE SURE
THAT SHE WAS WITH THE PEOPLE.
BECAUSE SHE HAD...
SHE HAD A COUPLE OF BROTHERS AND
SISTERS AND THINGS LIKE THAT.
WHAT I REMEMBER YOUR GRANNY, SHE
WAS JUST MY MUM.
BECAUSE I UM...
GROWING UP, SHE WAS UH, A VERY
SPECIAL PERSON.
I GUESS I DIDN'T SEE TILL YEARS
LATER.
THE THINGS THAT SHE REALLY LOVED
DOING, WAS IN THE SUMMERTIME
GOING DOWN BY THE BEACH, AND
PUTTING A FISH NET DOWN AND
MAKING A FIRE, AND DRY FISH AND
THINGS LIKE THAT, OR HAVE A
PICNIC DOWN THERE.
LIKE, SHE'D SIT THERE FOR HOURS.
USED TO GO CHECK ON HER TO MAKE
SURE SHE WAS OKAY, EH?
AND SHE USED TO SAY, "WHY ARE
YOU BOTHERING-- COMING BOTHERING
ME?," SHE SAID.
"I LOVE SITTING HERE, YOU KNOW?"
THIS IS MY...
IT WAS JUST LIKE SHE WAS TELLING
US, THIS IS MY TIME NOW.
I DIDN'T...
I REALISE NOW THAT UH, THAT SHE
JUST WANTED TO BE WITH NATURE BY
HERSELF.
YOU KNOW, JUST HAVE A BONFIRE,
AND AS LONG AS SHE HAD TEA, SHE
WAS HAPPY, EH?

Colourful drawings are shown on screen. They depict human shapes interacting with nature.

The Narrator continues WHEN SHE USED TO...
SHE REALLY DIDN'T UNDERSTAND
WHAT HALLOWE'EN WAS ALL ABOUT.
BUT SHE KNEW THAT THE KIDS ARE
COMING AROUND TO GET CANDY FROM
HOUSES, AND SHE USED TO GET ALL
EXCITED AND SIT BY THE DOOR, AND
SHE WANTED TO HAND OUT CANDIES,
BECAUSE SHE WANTED TO SEE ALL
THESE KIDS DRESSED UP DIFFERENT
WAYS, AND THINGS LIKE THAT.
SHE LOVED MY KIDS.
SHE REALLY LOVED MY KIDS A LOT,
SO...
AND UH...
I THINK THE BIGGEST THING THAT
REALLY COME TO HER WAS WHEN YOU
CAME BACK IN '84.
AND UH...
IT'S HARD TO EXPRESS HER...
IT'S HARD FOR HER TO EXPRESS
HERSELF, HOW SHE FEELS.
IT'S REALLY DEEP DOWN THAT SHE
CARES FOR SO LONG EH, THAT AFTER
YOU HAD MET HER, SHE ALWAYS USED
TO TALK ABOUT YOU, WHEN YOU WERE
COMING BACK AND THINGS LIKE
THAT.
AND ONCE IN A WHILE SHE WOULD
SAY, WHEN YOU WERE COMING TO
VISIT AND THINGS LIKE THAT.
SHE USED TO SAY, "MY OTHER
GRANDSON," YOU KNOW?
PEOPLE USED TO GIVE HER MEAT AND
THINGS LIKE THAT, LIKE YOU KNOW,
SO…

The drawing of a map is followed by actual footage of birds on a tree and a dark picture of the moon.

The Narrator continues
AND WHEN THEY DID, SHE REALLY
APPRECIATED IT.
SHE MADE SURE THAT IT WASN'T
WASTE, AND SHE NEVER WASTED
ANYTHING, WHICH WAS REALLY GOOD,
SHE ALWAYS LIKE...
AND UH...
AS TIME WENT ON, LIKE, YOU KNOW,
SHE VALUED A LOT OF THINGS, LIKE
HER BEADWORK, AND HER MAKING HER
MUKLUKS, AND THINGS LIKE THAT.
IF WE WERE ABOUT A WEEK BEHIND,
IF WE'RE PUTTING UP...
IF SHE SEES LIGHTS OUTSIDE,
CHRISTMAS LIGHTS IN TREES
SOMEPLACE, SHE'LL BUG US UNTIL
WE PUT OUR CHRISTMAS TREE UP AND
LIGHTS, BECAUSE SHE JUST ADMIRED
IT, LIKE, IT WAS SOMETHING VERY
SPECIAL TO HER.
BUT IT'S UH...
BUT SHE ALWAYS MADE SURE THAT WE
UH...
SHE MADE SURE THAT EVERYBODY GOT
A LITTLE GIFT, EVEN THOUGH THERE
WASN'T MUCH, BUT IT WAS
SOMETHING THAT SHE WANTED TO
GIVE TO EVERYBODY.
THE YEAR BEFORE SHE WENT, I SORT
OF KIND OF THINK THAT SHE KNEW
THAT SHE WAS GOING, BECAUSE THAT
YEAR, SHE MADE THINGS FOR
EVERYBODY.
SHE USED TO TAKE A COUPLE OF
BLANKETS AND A PILLOW, AND SOME
TEA BAGS, AND MADE A WHOLE BAG
OF BANNOCK AND THINGS LIKE THAT,
SO WE COULD STAY THERE LONGER,
BECAUSE SHE ENJOYED IT, EH?
BUT I REALLY DIDN'T KNOW TOO
MUCH ABOUT TRADITION, AT THAT
TIME, SO NOW I SEE WHAT SHE WAS
TRYING TO GET AT.
SHE WANTED US TO ENJOY WHAT WAS
GOING ON WITH THE DRUMS AND THE
DANCES AND THINGS LIKE THAT, AND
UH... THERE ARE THINGS, ODDS AND
ENDS...
BUT NOW I'M SORRY, BECAUSE I
WISH I WOULD HAVE SAT AND
LISTENED TO SOME OF HER STORIES,
YOU KNOW, SOME OF THE STORIES
THAT THEY USED TO TALK WHEN THEY
WERE OUT ON THE TRAPLINE, OR
WHEN THEY WERE OUT YOU KNOW, OUT
ON THE BEAR LINE, FOLLOWING THE
CARIBOUS AND THINGS LIKE THAT.

The screen fades into a still image of the moon in a dark night while birds call. The screen turns black.

The ends credits roll.

Drummer and singer, David Boulanger.

Voices, Iori Blondeau, Caroline Bjorklund, Zachery Longboy.

Stone man, Wayne Lavallee.

The stone show, Zachery Longboy, 1999.

The end credits of the show roll.

Executive producer, Rudy Buttignol.

Executive Director, Ontario Arts Council, John Brotman.

Producer, Annette Mangaard.

Directors, Annette Mangaard and Muriel Lavigne-Trotter.

TVOntario. A production of TVOntario.

The Ontario Educational Communications Authority, 2005.

Watch: Exposures: The Art of Film and Video Program 1