NO REST FOR THE AWAKE - MINAGAHET CHAMORRO

In more than a month the 7th Guam International Film Festival will be taking place at the Guam Museum. I received word this week that my latest Chamorro language nerd collaboration with Kenneth Gofigan Kuper will screened. It's title is "I Sengsong Arkham" and follows in the vein of our previous film "Påkto: I Hinekka" in that it features us playing a game that few would ever associate with the Chamorro language or culture, in the Chamorro language. The game itself is called "Arkham Horror" and is a Dungeons and Dragons style game based on the works of horror writer H.P. Lovecraft. There are several other Guam and Micronesian based short films and documentary that will also be featured. Thinking about this has put me in the mood for some Guam movies, of which there aren't many, and most of them are not very good.  The first generation of Guam films, meaning films that were made on Guam in the 1960s and 1970s, didn't feature Guam as Guam, bu

Chamorro Soil, Chamorro Soul by Michael Lujan Bevacqua May 4, 2016 The Guam Daily Post Last week’s University of Guam Film Festival or UOGFF was very exciting for me personally. In three of the films featured, I had a role in creating, whether as an actor, producer or consultant. I had a minor speaking role in the film “You’re Not Going Anywhere…Kid” directed by my former student Kyle Twardowsky, who shot the entire film on his iPhone. The documentary “War For Guam” which was premiered last year on PBS stations around the United States was also shown. It was directed by Frances Negron-Muntaner, a prominent Puerto Rican scholar who teaches at Columbia University. I worked for a several years as a co-producer (along with local filmmaker Baltazar Aguon and others) on this film that shows the Chamorro experience in World War II, primarily through the re-telling of the stories of American holdout George Tweed and Chamorro priest Jesus Baza Duenas. The final film, which was

The film I made with Kenneth Gofigan Kuper titled "Påkto: I Hinekka" is being shown tomorrow at the Fifth Guam International Film Festival at 7:30 at the Agana Shopping Center Theaters. Below is some information on the film itself and its cast. *********************** PÅKTO: I Hinekka - Film Synopsis             “Påkto: I Hinekka” pins nerd ambassadors Ken and Miget in the most epic battle of their lives. While playing the popular fantasy card “Magic: The Gathering” they once again battle to the death, only this time things are different, this time things are in the Chamorro language. “Påkto: I Hinekka” is filled with nerd humor, drama and glory, but more than anything aims to show that it is possible to use the Chamorro language everyday, no matter what one is doing.  The Chamorro language has existed for thousands of years and has recently become endangered as it is no longer being actively transmitted from one generation to the next.

“Chamorro: The Movie” by Michael Lujan Bevacqua The Guam Daily Post September 16, 2015 How many people remember the movie “Max Havoc: Curse of the Dragon?” It was directed by cult film-master Albert Pyun and starred Richard “Shaft” Roundtree, David “Kung Fu” Carradine and Carmen “just in one scene” Electra. It was shot in Guam in 2004 lauded locally as “Hollywood coming to Guam!” The filmmakers promised to help create a new film industry on the island and tempted local leaders with the idea that “if we film it, they will come” or once the world sees “Max Havoc” on the big screen, people will be lining up to film their movies on Guam. Local businesses and GovGuam threw money and support at the film, eager to expedite the Hollywood celluloid rush that was on the horizon. This was all soon proved to be ludicrous. The film made no money and was never even screened in a theater. It eventually became the object of a huge lawsuit between GovGuam and the filmmakers. I’ve long

I just made a donation in support of the film " The Monique Baza Story ." It is an exciting upcoming film that tackles a serious issue on Guam, violence against women, in particular sexual violence, which according to the film's producers happens on Guam at a rate significantly higher per capita than a teeming metropolis like New York City. The film tells the story of Monique Baza who was kidnapped and raped in 2012 and after seeing the disastrous state of Guam's legal system and support system of victims, decided to speak out. Last year Chamorro Studies and Women and Gender Studies at UOG invited her along with several others to come and speak at a forum on sexual violence. Not all victims are able to respond the way she has, some find it too difficult and daunting to deal with the burden and society's inability sometimes to negotiate their emotion wounding or the social wound that their attack has revealed that few want to admit to or deal with. Here is a me

Guaha dos patgon-hu siha. Hohoben ha' i dos. Gof ya-hu kumonne' siha para i fanegga'an para bei in egga' i nuebu na mubin famagu'on siha. Taiguihi i meggaina na manhoben, gof yan-niha umegga' i mubin Pixar. Gof ya-hu este na mubi siha, sa' tahdong i mensahi siha, fihu gof gaisiente, yan sesso mafa'tinas maolek i estoria. Ya-hu lokkue' na fihu gof "simple" i na'an-niha, ya ti mappot mapula' gi fino' Chamoru.  Anai hu taitai este na lista gi Facebook ha na'hasso yu' put i na'an-niha este na mubi siha gi fino' Chamoru. Sesso hu usa este na pininala' siha gi klas-hu. Para i estudiante-ku siha, mas ki sesso sahnge i fino' Chamoru para siha. Esta hagas mampayon siha nu i fino' Ingles, ya achokka' i fino' Chamoru i fino' Irensia para siha, ti ma gof tungo', ya kalang fifino' lagu ha' gi pachot-niha yan hinasson-niha.  Ya-hu muna'halom gi klas-hu este na klasin nina'chale

Guam Mentions are always interesting. The random places that Guam will appear in the speech of military planners, world leaders, comedians and filmmakers is always so intriguing to me. Taking serious these mentions are sort of traces of the structure of American imperialism and colonialism was the main theoretical intervention of my dissertation. Moving away from seeing the random way that Guam gets mentioned sometimes whether it be by Bob Hope or David Letterman as actually possessing serious meaning and truth and not just being an accidental or random mention. For most the flexibility and labiality of meaning attached to Guam, the occasional invisibility that it is shouldered with or assumed is just a misrecognition, is something people say just because they don't know better or something you can just attribute to ignorance. But for me there is far more that just that. The colonial status of Guam and the ability to shift and produce meaning for it, the ability to

Chris Hedges stitches together so much troubling truth about both the film American Sniper and the book it is based on. It is a sobering reflection on the film, the mythology of Chris Kyle and how those things relate to the soul of a nation. After reading this is does make you wonder, for all those people who feel patriotic or a swell of national pride after watching the film, what type of nation do you imagine you are a part of? The film is incredibly effective at focusing the viewer on the sentimentality and sacrifice of one character, much to the detriment of rest of the ideological universe of the film ultimately being unquestioned or unexamined. One is too busy tearing up or saluting the heroism of Chris Kyle, that few seem able to question the rest of the film and what it is hiding or proposing. People crave someone like Kyle as being the tip of their national spear, but don't think about what kind of nation would want that type of person there. That type of person represen

--> I'm already quite tired from a long day, but before I go to bed I wanted to post some articles about American Sniper. I tried to watch the film last weekend on a Sunday night when usually theaters are empty on Guam, but to my surprise it was sold out. In just a week it is now a huge blockbuster and seems to be a commercial and critical success. Amidst all the buzz, people have been criticizing the film because of the incredible amount of fabrication that went into creating the movie figure of America's most lethal sniper. The Chris Kyle in the film is very different than the Chris Kyle of history and who published a memoir and loved to exaggerate his history of violence, even to the point of boasting and lying about fights he was never in and murders he never committed, all in the US, not the Middle East. I have written so many times over the years about the way in which national policies become conflated with the soldiers who enact, in some cases illegall