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• W240695656 abstract "Random Notes of Ragpicker Woman, directed by Dorothea Braemer, 1995,14 minutes. Available on VHS. Dorothea Braemer's Random Notes of Ragpicker Woman is a personal video documentary that addresses specific aspects of the filmmaker's relationship with her mother. It also raises critical questions about the complexities of the human condition. The video begins with a curt definition of the term ragpicker, followed by a close-up of an audiocassette recorder in rotation. The voice-over conversation of two women with German accents makes the opening cozy; however, when we are greeted by a gypsysignified woman singing Recycle Everyday, to the tune of La Habanera from the opera Carmen, the significance seems obscure. These images and sounds are interspersed with a series of documentary-style interviews on the topics of trash, garbage, and recycling. Visual surprises throughout the video are organized, along with the soundtrack, to provide meanings far beyond what could otherwise be elicited from what appear to be superficial discussions, perhaps unworthy of critical discourse. The focus of Ragpicker Woman is ostensibly created by the conversation between the two German women. We eavesdrop, reading English subtitles and pondering the rotation of the audiocassette. Ultimately, however, this experimental work leaves us with a pithy discourse on the meaning of that which is discarded, unwanted, dirty, and out of place. We soon discover that, in the context of human suffering, the discourse is indeed complex and merits criticism. Somehow, the video integrates humor with horror. It opens with ideas about salvaging, which our society generally regards as an occupation of the homeless-a horror. So the movie's title seems at once humorous and obscure. On-screen text defines ragpicking as a livelihood. Yet the humor lies in our notions that rags are to be discarded-not picked. The aural structure of the video entails a layering of complex textures that engage the audience. After the lucid definition of ragpicking is proffered, the ostensibly casual conversation between the two German women begins. Humor is curtly diminishedthough not completely abridged-when their conversation about cotton rags, the building of composts, and the uselessness of synthetics turns to sterner stuff. Eventually, the German dialect itself becomes an affront to audience sensibilities, especially when Adolph Hitler's name is mentioned. This is not a casual conversation. Rather, the audience has been strategically maneuvered into eavesdropping on two women's experiences with rubbish as a commodity in Nazi Germany. One woman recalls that bones were used to make glue. What was a tame discussion about salvaging junk has evolved into the signified horror of human experimentation. Memory deflects the horror, which is displaced by a discussion of the modern simplicities of recycling. At some point, we discover that one of the two women is the filmmaker's mother and the discourse has shifted to what it is like to be raised by someone who grew up in an era in which horror was prevalent and up close, albeit disguised. Any audience member older than 40 years old can relate to stories about the Great Depression and World War II, so the text becomes nostalgic. The imagery in Ragpicker Woman is sometimes complex, superimposed, and colorful. The soundtrack mimics the drone of traditional documentaries about World War II and the Jewish holocaust. At one point, a woman attired in colorful, Eastern European garments sings a revisionist version of La Habanera, symbolically transporting us to gypsy life in old Europe, perhaps around 1942. La Habanera is a popular dance and a haunting melody from Carmen. The central character's performance in the opera alludes to her having no place, being free, and belonging to no one but herself. By contrast, the gypsy-attired character in Ragpicker Woman appropriates the familiar melody to promote the value of modern-day recycling. …" @default.
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• W240695656 date "1997-04-01" @default.
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• W240695656 title "Random Notes of Ragpicker Woman" @default.
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