Film Matters: Please tell us about your article that is being published in Film Matters.
Leandra Djomo: My article “Daydreaming” focuses on the distortion of identity caused by VR technology in Satoshi Kon’s 2006 film Paprika and how that distortion serves as a way to escape reality. What attracted me to this film were the fun colors and the ultimate confusion that came with trying to understand where reality began and where fiction ended. I found this confusion to be horrific, and as a horror fanatic, I wanted to explore this sentiment further. Although, Paprika is certainly not considered a horror film.
FM: What research and/or methodologies do you incorporate in your article?
LD: My methodologies revolve around a multitude of theories such as the link between technology and horror in Japanese cinema, the notion of the “fifth look,” which invites audiences to see themselves as a part of the film they watch, illusionism, and identity politics. These were all necessary for me to even attempt to form an understanding of the dreamworld in Paprika. It was a challenge, but this research enlightened me on the various ways technology can be discussed and analyzed within film.
FM: Describe the original context for/when writing this article while an undergraduate student.
LD: In the fall of my junior year, I was in a class that specifically looked at Japanese technology, media, and its ramifications on Japanese culture throughout history. We looked at how these social transformations through technology manifested within Japanese cinema. We examined many different examples from animated shows such as Serial Experiments Lain to horror movie Pulse and the result of rapid industrialization affecting society. I decided to continue exploring anime for my final paper in the class and that is how my article came about! I was encouraged by my professor, Diane Wei Lewis, to submit my paper for publication.
FM: What does your writing process look like?
LD: It’s hard for me to describe my writing process as it feels particularly specific to the way I think. So, I will describe the way I think instead. I feel like I have millions of thoughts racing through my mind at the same time and I’m aware of every single thought that exists in my brain, but it tends to get overwhelming. To soothe my mind, I write down whatever thoughts I have to make space for more important thoughts to come to the forefront. When I’m writing papers, my thoughts seem to go on overload, especially when I have an idea that really excites me. I go through that same process of writing whatever I can down and organizing it later as I found this to be the most efficient process. This honestly sounds ordinary, but everyone thinks and deals with their thoughts differently, right?
FM: How have your personal experiences shaped and influenced your writing?
LD: My appreciation and love for film as an art form definitely influences the way I speak and write about it. However, I should give the biggest credit to my love for learning about new cultures and languages as I tend to enjoy writing about social commentary and dissecting the connections to whatever culture is present in the films I watch.
FM: What are your methods for finding diverse and relevant sources?
LD: I have been studying film for a while now, so I have a large repertoire of diverse and relevant sources, largely for East Asian, horror, and melodramatic films, since those have been my primary focus in film studies. However, some research topics can be niche and that’s when I’ll use my knowledge in French and Korean to search for sources in those languages I think could be helpful to my papers.
FM: Why is including marginalized voices in research important to you?
LD: As a Black woman, I am always looking out for marginalized voices in my research because I know they are not as celebrated nor promoted like other scholars despite potentially giving important insight that could prove useful for my writing. I too understand what it means to be a marginalized voice in academia. I strive to include those voices in my work.
FM: What aspects of the writing process were most challenging? Why?
LD: The hardest part of the writing process was condensing the research I found so that I understood it while also sharing this research in a way that was palatable for others. The film is a lot, the research is a lot, the theories are A LOT. My biggest problem was making sure that my arguments still shone through the denseness of the evidence I had to back up my claims.
FM: What’s a resistance point you hit in your writing, and how did you move past it?
LD: The resistance point was again trying to condense my research so that it could be understood by a wider audience.
FM: What do you enjoy most about your article?
LD: What I enjoy the most about my article was how I was able to connect so many different ideas and theories to break down what I consider to be a very complicated film. I felt proud that others could recognize my efforts when reading it.
FM: How has the Film Matters editorial and publication process impacted the development/evolution of your article?
LD: I think I gained a deeper appreciation for my article and the hard work I put toward it under the publication process. You have to really scrutinize your paper in a way you don’t do all the time and that can make you feel vulnerable as a writer. I learned to have more confidence in my writing and that helped me fine-tune my article in a professional manner.
FM: What audience do you hope to reach with your Film Matters article and/or what impact do you hope it has on the field of film studies?
LD: I’m a fan of having all types of audiences read my work because you never know how an article can inspire you, even if it’s different from the articles one may be used to reading. If I had to pick, I would want cultural scholars to assess my article as I’m really invested in elevating the relevance of cultural studies within film both in understanding cultural specificity and transnational cinemas.
FM: How has your department and/or institution supported your work in film and media?
LD: During my academic career, my film professors have always uplifted me. They instilled the confidence I needed as a writer, which led to me becoming a solid scholar on film.
FM: How has your faculty mentor(s) fostered your advancement as a film scholar?
LD: Professor Diane Wei Lewis is the reason why I’m so invested in film studies and she has encouraged my ideas as a film scholar. If it weren’t for her, I don’t know if my love for film would have grown to be so pertinent to my life as it is now. She has taught me the true meaning of enjoying film as it is while also enjoying it as a revolutionary way for me to view the world around me. Professor Lewis was the first person to help me write film in an academic context and truly taught me how to critically analyze film not only from a technical standpoint, but as a critical analysis of culture, history, feminist theory, and much more.
FM: What advice do you have for undergraduate film and media scholars?
LD: Find what interests you in film, whether it’s niche or not, but don’t limit yourself to that particular interest. Expose yourself to different kinds of genres, national films, styles, directors. . . . Find ways to keep your passion for film alive and take inspiration from others, whether it be your peers, faculty, neighbor, local movie theater, etc.!
FM: What are your future plans?
LD: I’ve found myself in the advertising industry with hopes to be established as a producer. I like to say I’m a film scholar on the side because, although this is my first publication, it certainly won’t be my last. Film analysis has anchored itself in my life forever.
Author Biography
Leandra Djomo is a graduate of Washington University in St. Louis with majors in Global Studies and Korean and a minor Film. She enjoys analyzing the portrayal of women in horror films, with a particular interest in East Asian Cinema. She is an avid enthusiast of female-led narratives and storytelling.
