During the Co-ordinated Arts Program’s (CAP) Student Conference, many students presented a piece of their work though essays, websites, artwork, posters, videos, and more. As a showcase presenter of a website, I was gathered into a room with two other groups from my ASTU class. Being in a mini-version of our Tuesday and Thursday class made presenting more comfortable and fun. However, I chose to focus this blog post on the panel presenters who sat in front of professors, students, and guests, presenting their individual work.

Panel D: Gender and Sexuality, moderated by David How, was a very interesting group of individuals who discussed the media’s role in constructing gender identities. Kelsey McDougall, a student of the CAP stream Media Studies, presented “The Circulation and Representation of Gender Identities in the Media: A Literature Review”. I found this presentation to be very rounded as McDougall discussed the impact of media representation of both males and females. I have chosen to focus on this piece as I’ve also incorporated both genders in my sociology paper regarding sexual assaults on campuses.

Throughout my own academic research for the paper, I was struck by how the language and the overall discourse of the conversation painted men merely as perpetrators.

I was able to find one scholarly article written specifically for male victims. In it, Isely reports that “although preliminary findings suggest that men in the early years of their adulthood are particularly at risk for this type of victimization, publications considering sexual assault treatment among students frequently ignore these male victims” (306).

It should be noted that although, statistics show that women are sexually assaulted more often on campus then men, this fact should not erase their right to inclusive representation.

As McDougall’s presentation showed images of impossible body standards for both men and women, I reflected on my own findings. Media representation can create victims of eating disorders, low self-esteem and so on whereas sexual assault creates victims as well. In order to address these issues, changes in the attitudes towards who the victim is or can be, must be altered.

On a final note, McDougall’s presentation as well as the articles I read for my paper, are limited to the gender binary. What does this suggest for individuals who do not fit within those boundaries?

Isely, P. J. (1998). “Sexual Assault of Men: College-Age Victims.” Journal of Student Affairs Research Practice, 35. 4. Web. 13 Mar. 2015.

McDougall, Kelsey. “The Circulation and Representation of Gender Identities in the Media: A Literature Review.” University of British Columbia. Irving K. Barber Building, Vancouver, BC. 1 April 2015. Keynote Address.

In our ASTU class this term, we’ve discussed the importance of archives in conjunction with  silences,voices, and whose lives matter. In a Globe and Mail article published March 16th, an internal investigation revealed a gap of 266 people in the national database of missing individuals within Canada. Given that, “Indigenous women are far more likely to disappear or be killed than non-aboriginal women” (Carlson and D’Alieso), the reality of these numbers is hard to conceive. This void in the RCMP national database suggests a silencing of the marginalized lives Aboriginal women, and their families, across Canada.

In the same Globe and Mail article, one interviewed woman, Ms. Williams, shares that her aunt, Belinda Williams, went missing in 1977 and her whereabouts is still unknown (Carlson and D’Alieso). Ms. Williams’ cousin, Tanya Holyk had also gone missing, but her DNA was found on the Pickton farm; where many other Aboriginal women remains were found.

One of the many other victims was named Sarah de Vries. Her ethnicity of “black, Aboriginal, Mexican Indian, as well as white” (de Vries 1) combined with her living in the Downtown Eastside of Vancouver made her a vulnerable target. As required reading for my ASTU class, Missing Sarah: A Vancouver Woman Remembers her Vanished Sister,  opened the dialogue of ethical representation. Maggie de Vries, sister of Sarah de Vries, created a space for Sarah to occupy an authentic voice within the frame of  non sensationalized reality.

As additional stories of missing and murdered Aboriginal women in Canada are told, media outlets, the RCMP, as well as the government of Canada have ethical roles and responsibilities to attend. I’m left wondering who will monitor that progress? and how will such institutions be held accountable?

Carlson, Kathryn Blaze, Renata D’Alieso. “Substantial gap discovered in RCMP database of anonymous dead.” Globe and Mail. Web. 16 March 2015

de Vries, Maggie. Missing Sarah: A Vancouver Woman Remembers her Vanished Sister. Toronto: Penguin Canada, 2003. Print.

In exploring Fred Wah’s Diamond Grill this term in ASTU 100, I was introduced to the concept of the “hyphenated” (31) identity for the first time. In this biotext, Wah reinforces his experiences with lifelong social constructs through ethnicity, recipes, and the restaurant layout (white English speakers in the front and Chinese in the back).

Ever since this introduction to lives inside the hyphen, I’ve noticed it in every other one of my classes.

In one of last week’s Geography readings titled Identity Crisis by Allan Gregg, Canadian culture and “hyphenated citizenship” (2) was in discussion and the historical societal impact of immigration.

In Sociology, guest speaker Dr. Donna Lester-Smith shared assimilation testimony from First Nations residential school students. These stories along with the powerful before and after images of Thomas Moore left a clear image of how drastic identities can be changed and at such an young age.

In African Studies, Professor Kofi discussed European powers “slicing” Africa into pieces, like a cake waiting to be divided. With these divides came values and belief systems the Africans were forced to adopt. The lecture left me left me thinking of these new, socially constructed hyphenated identities that Africans were forced to assimilate to.

Diamond Grill is the first book I’ve read at university with an applicable message of hyphenated identity that can span multiple disciplines while remaining equally important across the board.

As I continue with the last two ASTU assigned readings Missing Sarah by Maggie de Vries and Cockeyed by Ryan Knighton, I’m curious to see if these texts will have the same impact, and if the recurring “hyphenated” identity concept will continue to emerge.

Citations:

Gregg, Allan. “Identity Crisis: Multiculturalism, a 20C Dream Becomes a 21C Nightmare.” (2006). UBCLIB. The Walrus. Web. 26 Feb. 2015.

“Thomas Moore Image.” Yahoo. Web. 5 Mar. 2015. <https://images.search.yahoo.com/yhs/search;_ylt=A86.JyPiWflUd18AXpcnnIlQ?p=before and after thomas moore&fr=&fr2=piv-web&hspart=mozilla&hsimp=yhs-001>.

Wah, Fred. Diamond Grill. Edmonton: NeWest, 1996. 2-31. Print.

It’s finally Friday! This week has been a real doozy. A Group project, copious amounts of reading, an essay outline, a reflection, and concluding with this blog entry. I’m sure everyone, Profs included, share my excitement at the idea of relaxing and taking a breather tonight. Personally, I’ve been contemplating what Netflix series to start, or perhaps what early 90’s classic to re-watching.

Regardless of what I end up watching, I will be accompanied by one of my favorite South American import. No, not my Argentine boyfriend Peter, but a delightful glass of red wine.

Thanks to the research I’ve done for my geography essay, I can’t just drink a glass of wine like I used to.

As I’ve been researching grapes and commodity chain analysis of harvesting in Chile, the realization that each bottle of wine has its own story; its own narrative, has intrigued my inner global citizen. By ‘story’ I don’t mean that blurb on the back of the bottle that romanticizes the idea of vineyards, but rather the very real process between picking the grape and pouring wine into my glass.

In José Bengoa’s article Rural Chile Transformed: Lights and Shadows, he explains that although some workers, both men and women, have year round contracts (and therefore considered privileged), the majority of workers are seasonal (484). Because the geographical layout of the country, Chileans experience different seasons at the same time. While it may be a hot summer in the north, it is a cool winter in the south. Therefore, “there is also regional movement of seasonal labour from north to south, following different climatic conditions and timings in harvest” (485).

As I go out in search for a bottle of wine this evening, I will keep in mind what I have learned. I will also remember that “this mass of seasonal workers has to sit home when labour demands it” (485) and therefore, do my part as a global citizen and indulge in two bottles.

Bengoa, José. “Rural Chile Transformed: Lights and Shadows.” Journal of Agrarian Change 13.4 (2013):

                            484-85.  Http://onlinelibrary.wiley.com/. John Wiley & Sons Lt. Web. 4 Feb. 2015.

                            <http://onlinelibrary.wiley.com.ezproxy.library.ubc.ca/doi/10.1111/joac.12015/pdf>.

In my last blog post I briefly discussed the history of the Lost Boys of Sudan and their lifelong journeys. I ended the post with a lingering and broad question about the ‘Lost Girls’ which is where I will pick up again with this post.

What I believe lead to my concern for the Lost Girls was attributed by Hilary Chute in her article The Texture of Retracing in Marjane Satrapi’s “Persepolis”. In this article, Chute calls out the New York Times Magazine saying it “virtually ignores graphic narrative work by women” (92). I had the same defensive reaction for the life narratives on women affected by the war in Sudan. While Chute proves the New York Times wrong by exploring the brilliant work of Marjane Satrapi, I unfortunately am unable to do so for the Lost Girls of Sudan. With so many unanswered questions I was struck by the lack of information I knew about them.

Questions that immediately came to my mind were: Who are they? Where are they? Why do I know so little about them?

Admittedly, these questions didn’t fully occur to me until I read What Is the What by Dave Eggers. More specifically, until page 140 where the topic of rape was first introduced. In this paragraph, the writer explains how some Lost Girls of Southern Sudan were “made to work in Arab homes, and later became concubines, bearing the children of their keepers”. The lack of women and girls’ stories in the meta-narrative of the Sudan civil war caught me off guard. How had I not given this perspective more thought? The idea of women being slaves, made to bear the children of their abusers was profoundly disturbing.

The following sentence, and rest of the paragraph left me angry and confused; leading me to even more questions that I still don’t know the answers to.

“Boys tended to livestock and were often raped, too. This, I have to tell you, is one of the gravest offenses of the Arabs. Homosexuality is not a part of Dinka culture, not even in a covert way; there simply are no practicing homosexuals at all, and thus sodomy, particularly forced sodomy upon innocent boys, has fueled the war as much as any other crime committed by the murahaleen” (140).

What struck me as infuriating and confusing here was the general disregard for the suffering and equally traumatic experiences of the girls. Understandably, the writer is telling a story from a cultural perspective that I am not familiar with that may not allow females the same basic rights and equalities. That said, I noticed a trend throughout not only this book, but also in the documentary God Grew Tired of Us, where Sudanese boys were repeatedly in the spotlight telling their stories.

Out of curiosity I continued to read about the Lost Girls online and was shocked to find that of 3700 Sudanese refugees relocated to the U.S., only 89 of them were women. This may have something to do with the lack of information and publicity they have received. Of those 89 girls, most of them were sisters or cousins of boys already in the U.S. (McKelvey).

The overall lack of information about these women is alarming.

What does this suggest about the relevance of female life narratives from the war in Southern Sudan?

For more information on the Lost Girls click on the following articles:

“Where Are The ‘Lost Girls?”

Kakuma refugee camp to Mississippi: Life & Dreams of “Lost Girl of S. Sudan

Lost Boy, Lost Girl: Escaping the Civil War in Sudan

Sudanese refugee chases her dream in civil war’s wake

Citations:

Abeng-Nsah, Lema. “Kakuma Refugee Camp to Mississippi: Life & Dreams of ‘Lost Girl of S. Sudan’ ADENG ABUR.” DUNIA Magazine. 20 Oct. 2014. Web. 14 Nov. 2014. <http://www.duniamagazine.com/2014/10/the-life-and-dreams-of-lost-girl-of-south-sudan-adeng-abur/>.

Chute, Hillary. “The Texture Of Retracing In Marjane Satrapi’s Persepolis.” WSQ: Women’s Studies Quarterly 36, 1 & 2 (2008): 92-110.

Eggers, Dave. “XI.” What Is the What: The Autobiography of Valentino Achak Deng : A Novel. Toronto: Vintage Canada, 2006. 140. Print.

Johnson, Virginia. “Lost Boy, Lost Girl: Escaping the Civil War in Sudan by John Bul Dau and Martha Arual Akech.” Librarypoint. LibraryPoint: Central Rappahannock Regional Library, 13 Dec. 2013. Web. 15 Nov. 2014. <http://www.librarypoint.org/lost_boy_lost_girl_dau>.

McKelvey, Tara. “What Happened to the “lost Girls” of Sudan?” Slate Magazine. 3 Oct. 2003. Web. 14 Nov. 2014. <http://www.slate.com/articles/news_and_politics/foreigners/2003/10/where_are_the_lost_girls.html>.

Ramirez, Marc. “The Seattle Times: Living: Sudanese Refugee Chases Her Dream in Civil War’s Wake.” The Seattle Times: Living: Sudanese Refugee Chases Her Dream in Civil War’s Wake. The Seattle Times, 8 Aug. 2004. Web. 13 Nov. 2014. <http://seattletimes.com/html/living/2001998830_lostgirls08.html>.

In this two part blog entry, I’ve decided to split two different but very important perspectives from the genocide in Sudan because in my opinion, they both deserve equal time and coverage.

This semester in my ASTU 100 class we have read excerpts from various academic writers such as Hillary Chute, Kay Schaffer and Sidonie Smith. They have explored similar concepts of trauma, loss as consequences of war and the impacts associated with memory and remembering.

In reading What Is the What by Dave Eggers, these reoccurring concepts are easily connected and applicable. In this memoir, the reader is taken on a heartbreaking journey narrated by one man’s experiences as a lost boy in Sudan. This lost boy, Valentino Achak Deng shares his very personal account, with help from Dave Eggers, of his continuous struggle to survive his life’s journey from war-torn Sudan, to the Kakuma refugee camp, and later years in the United States.

Over time, the thousands of lost boys in the refugee camp of Kakuma developed friendships into families and communities. Similar to the story of Valentino Achak Deng in What Is the What, in the film God Grew Tired of Us, other lost boys were given the opportunity to share their stories while being followed and videotaped making the transition from refugee camp in Kakuma to an apartment in the United States. Several lost boys lost their fathers, mothers, siblings, neighbors, and friends to the war. Having survived together through horrific circumstances and tragic odds, their bonds became very strong. One of the boys in the film, John Dau, opened up about missing his friends who are still in the refugee camp, the community he was a part of, and the guilt and responsibility of leaving them behind.

While reading What Is the What, I was continuously shocked and emotionally overwhelmed. The traumatic events in this book and the thousands of stories that will be left untold are moving beyond words. Upon seeing real footage of hundreds of young, thin boys walking together in God Grew Tired of Us, I was taken to a whole other emotional level. Having read about it was difficult, having seen it was haunting. As Chute writes about the “ethical verbal and visual witnessing” (94) impacted by the graphic narrative genre in Persepolis, both What Is the What and God Grew Tired of Us combines are powerful in the same way.

As I learned more about the lost boys, it occurred to me that I know very little about the “lost girls”. Stay tuned for part two of this topic in my next post where I explore what this lack of lost girls coverage suggests.

Citations:

Chute, Hillary. “The Texture Of Retracing In Marjane Satrapi’s Persepolis.” WSQ: Women’s Studies  Quarterly: 92-110. Print.

God Grew Tired of Us: The Story of Lost Boys of Sudan” National Geographic Films, 2007. DVD.

“Former “Lost Boy” of Sudan, Genocide Survivor, Social Entrepreneur and Humanitarian, John Bul Dau.” Welcome To DanaRoc.com. Web. 4 Nov. 2014.

Schaffer, Kay, and Sidonie Smith. “Conjunctions: Life Narratives In The Field Of Human Rights.” Biography 27.1 (2004): 1-24. Print.

“Slam poetry offers the ability for a performer to connect with his/her audience in a deeper way, and allows the performer to articulate a set of emotions and thoughts succinctly using the power of voice and words. It’s also a platform that goes beyond creative expression. Just like any art form, slam poetry and spoken word allow the artist to talk about social issues and social change.” -Mehroz Baig, Butler-Koshland Fellow, The Commonwealth Club, Huffington Post

As the Mi’kmaq poet Rebecca Thomas performs a powerful spoken word narrative about the experiences of marginalization shared by Canada’s indigenous peoples (as seen in this video), she is also performing a “soft weapon” (Whitlock p.3). Defined by Gillian Whitlock as a way to “personalize and and humanize categories of people whose experiences are frequently unseen and unheard” (3), Thomas takes it one step further by putting a face to those ” frequently unseen” and a voice to those “unheard”.

Rebecca Thomas performs “What Am I Supposed To Think” (Photo: Rebecca Thomas Facebook)

The poem linked above was delivered by Thomas during a national spoken word competition in Victoria last week, where she went after earning a spot on Nova Scotia’s provincial team.  In her piece, “What Am I Supposed To Think?”, she describes an insightful and highly personal account of her experiences with racism as a member of the Mi’kmaq Nation. While also briefly mentioning her father’s experiences in residential schools, Thomas explores the term “second generation testimony” which Schaffer and Smith present in their 2004 article Conjunction: Life narratives in the Field of Human Rights (9). While Shaffer and Smith discuss “trauma as self-alerting and self-shattering” (7), Thomas gives multiple historical examples of social, political and racial injustices faced by First Nations people:

• Ignorant internet comments “…when the hate is spelt out perfectly in internet ink, calling us punks and drunks…”
• Bold political opinions while referring to Prime Minister Stephen Harper as a “sinister prime minister”,
• Limited and biased media coverage from a First Nations perspective with “but that’s not what’s seen splashed across your TV screen

In the face of this type of discrimination, Thomas finds a way to highlight some beautiful aspects of her Mi’kmaq culture. To emphasize the importance of strength and community she explains: “we are the Wabanaki, people of the dawn, new beginning, fresh start, healing heart, it’s just a down to the spirit bruise, but haven’t you seen the news? We are resilient.”

The discrimination that Rebecca talks about in her poem, is still prevalent in Canadian society today. As discussed by Professor Susanne Gessner in a lecture for her Anthropology 212 at the University of British Columbia, some First Nations children that attend school with an accent known as “First Nations English” are commonly referred to speech therapy by their teachers to have their accents “corrected”. Professor Gessner also added that this seems surprising since children from Australia, England, Japan, or any other country resulting in a different accent from the standard North American would not. This may seem like a small detail, but shows how discrimination against First Nations is prevalent in many levels of Canadian society.

The issue of discrimination toward the First Nations community is still at play in Canada, regardless of how progressive we seem as a multicultural nation. In the midst of all the negativity over the past several centuries, Rebecca Thomas still finds a way to stay positive in this 3 minute, 10 second video. She spreads words of wisdom and hope with “we are the “Wobanaki”, people of the dawn, new beginning, fresh start, healing heart, it’s just a down to the spirit bruise, but haven’t you seen the news? We are resilient.”

Citations:

Baig, Mehroz. “Slam Poetry: A History.” The Huffington Post. TheHuffingtonPost.com, 14 Mar. 2014. Web. 17 Oct. 2014. <http://www.huffingtonpost.com/mehroz-baig/slam-poetry-a-history_b_4944799.html>.

Fenton, Andre. “Rebecca Thomas – What Am I Supposed to Think?” YouTube. YouTube, 18 Oct. 2014. Web. 20 Oct. 2014. <https://www.youtube.com/watch?v=1BX0xCn8Hgw>.

Schaffer, Kay, and Sidonie Smith. “Conjunctions: Life Narratives In The Field Of Human Rights.” Biography (2004): 1-24. Print.

Whitlock, Gillian. “Introduction: Word Made Flesh.” Soft Weapons: Autobiography in Transit. Chicago: U of Chicago, 2007. Print.

Tracing back the evolutionary process of graphical novels highlights moments in time that were captured and shared among various groups of people. The cultural impacts they have created are still prevalent while reviewing some popular samples, those impacts are quite clear.

As Gillian Whitlock refers to “cultural exchanges” (7) in Word Made Flesh, she acknowledges the work of Marjane Satrapi’s 2004 graphic novel Persepolis: The Story of a Childhood has on bridging cultural binaries between Americans and Iraqi’s during the war on terror. This incredibly powerful graphic novel is also explored by Hilary Chute in her own research The Texture Of Retracing In Marjane Satrapi’s Persepolis in which she quotes what “L’Association publisher Jean-Christophe Menu correctly terms a “phenomenon” (94).

As technology has also evolved, comics such as Marvel’s Spiderman and DC’s Batman have been thrown into the international spotlight. People traditionally associate a “comic” with clever images of fun loving characters like Garfield, Archie, and Calvin and Hobbes. As fewer people are having newspapers delivered to their door, and instead are accessing news stories online, these traditional comics have become as old-fashioned as the ways in which they are delivered.

Negative effects of this genre can be seen in blatant racist examples throughout various segments of The Adventures of Tintin written by Herge. Often cast as the villain, minorities were clearly the target of discrimination.

Similarly, throughout World War II, Germans used propaganda posters enforce their beliefs and oppress Jewish people. Same can be said in Canada, in 1914 when Indian passengers aboard the Komagata Maru were denied the right to disembark the ship and enter Canada

The evolution graphic of novels can arguably date back as far as hieroglyphics in ancient Egypt, or even further. And understanding the history of this genre makes it’s the cultural impacts even more fascinating.

Egyptian Hieroglyphics

While reading Blogging as Social Action: A Genre Analysis by Carolyn R. Miller and Dawn Shepard, I was struck by the interconnectedness of blogs, reality television, and the concepts of public and private information. While referencing the Bill Clinton and Monica Lewinsky scandal that went public in January of ’98, as well as the death of Diana Princess of Whales in August of ’97, Miller and Shepard make note of a “cultural trend in the 1990’s, a weakening boundary between the public and the private and the expansion of celebrity culture to politics and beyond.” (p4).

I remember in 1994 at the age of 7, seeing my Nanny glued to the T.V. set. Along with tens of thousands of viewers across North America, they seemed hypnotized by the infamous televised O.J. Simpson murder trial. O.J. Simpson was a famous professional athlete, actor in the well-known ‘Top Gun’ movies, as well as a charismatic NFL sports broadcaster. He was a hero to the Nation and also on trial of the murders of his wife, Nicole Brown Simpson, and waiter Ronald Lyle Goldman.

As Miller and Shepard put it, “American culture became obsessed with both making celebrities into regular people (as with Clinton) and making regular people into celebrities (as with Lewinsky)” (p.4). During the famous Ford Bronco chase seen here (34:57-35:31), cop cars, even helicopters following closely behind while documenting first hand the exact “obsessed” viewer that was referenced by Miller and Shepard. “This became televisions first reality show” as said here (2:56-3:00) by the narrator of Dateline.

Fast forward twenty years to the reality television era of today where Chris Jenner is more famous than ever. Jenner, who seen in the above mentioned Dateline story (00:04-00:09) multiple times discussing her relationships with the victim Nicole Brown Simpson (her best friend), the accused, and Jenner’s ex-husband, Robert Kardashian (lawyer of the accused). Today she can be seen with her family on the extremely popular reality show Keeping Up With The Kardashians.

So I find myself at the realization that O.J. Simpson did start the first reality T.V. show and potentially financed one of the most popular ones on air today. In another twenty years, will celebrities still be flirting with the line between public and private to capture an audience? And will that audience still be captivated?

Sources:

Dateline: The People vs. O.J. Simpson What The Jury Never Heard,  published on Youtube by John Charmed 2 (July 4th,2014) https://www.youtube.com/watch?v=MbKgEU8uqP0

Keeping Up With The Kardashians http://www.imdb.com/title/tt1086761 

For the past two weeks I’ve been trying to pinpoint an example of someone I’ve personally been inspired by that represents the overall idea of a Global Citizen. Someone who is courageous enough to challenge difficult realities and ambitious enough to implement solutions on both local, and international scales. For me, an embodiment of this description is Dr. Sheri Speede.

(A motivational saying found laminated inside the outhouse at the Sanaga-Yong Chimpanzee Rescue Center)

In 1998, Dr. Sheri Speede moved to the Mbargue forest in Cameroon to honor a promise she made to one group of chimpanzees that were being held in horrid conditions. With the vision of keeping “great apes safe and thriving in their natural habitats”, a lush, natural forest over two square kilometers in size became the site of the Sanaga-Yong Chimpanzee Rescue Center.

Fast forward to today and you’ll see how Sanaga-Yong is a driving positive economic force in the small surrounding villages where fresh local produce is bought weekly by the truckload from local farmers. It is also a stable and reliable employment opportunity for approximately 25 locals who otherwise would have limited, if any other viable economic option. On top these excellent, contributions local economy,  Sanaga-Yong is now home to seventy-two chimpanzees, victims of the illegal bushmeat trade. Their mothers likely killed by hunters to sell the meat illegally, the infant chimps can then be sold for a profit as pets. Although this is also illegal, it is still an all too common occurrence.

Over the course of fifteen years, the continuous efforts locally and internationally through the education facility at the Recue Center, fundraising events in the United States, and a book tours of her life narrative Kindred Beings, Dr. Speede and her team of dedicated staff have still not been completely successful. Sanaga-Yong still receives new chimps; mainly babies.

I find myself wondering if there ever come a time when we no longer need rescue centers for them? With all of Dr. Speede’s hardwork and dedication, what else can be done for the chimpanzees of Cameroon?

IDA-Africa Website (2013) Our Vision retrieved from

http://www.ida-africa.org/our-mission_349.html

Dana Vion (10 September 2008) Sanaga-Yong Chimpanzee Rescue Video Center. Retrieved from