There are several kind of cinemas such as Third World Cinema, Black Cinema, Free British Cinema and Deaf Cinema.
LightKitchen focuses solely on the art or technique of making Deaf films or movies which contributes to Deaf Cinema.
Prior to the founding of LightKitchen, the phrase, “Deaf Cinema” is unheard of. We do read and hear about “Deaf Hollywood”, “Deaf filmmakers”, and “Deaf films”, not the “Deaf Cinema”. In 2000, LightKitchen was born in a coffee house called X and O’s in Washington, D.C. Born out of the burning desire and passion to answer the question, “What is Deaf Cinema?”, the infamous question brought up in the classroom by a film professor, Facundo Montenegro who was then a chair of Television, Film and Photography in Gallaudet University. He now teaches media studies in Catholic University.
LightKitchen was founded by the original founders, Ryan Commerson, Daniele Le Rose, Facundo Montenegro, and Rene Visco in hopes of becoming an original film company. Hours of hard labor and sweat was poured into our visual works to create “Deaf cinema” experience for all to enjoy.
The main reason for LightKitchen is to answer the simple yet complex question: “What is Deaf Cinema?”
Ever since, we work hard to strive to define and explore what Deaf cinema is and is not. We’re still expanding our horizons into the realm of Deaf Cinema. LightKitchen believes there exists Deaf Cinema sprouting all over the world. Before we dive into the aesthetics of Deaf Cinema, we need to define what deaf and cinema are.
It’s a slippery slope to even try to define what “Deaf” is. It’s a massive task to begin with and we don’t dare to attempt. Here’s the general definition of Deaf. In our works, we perceive and portray Deaf people as “the cultural and visual linguistic minority using sign language“. That’s the crucial ingredient in creating Deaf Cinema.
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Deaf Cinema Aesthetics
“H – M – H” is a linguistic term to define a sequence of signs. HMH (a hold followed by a movement followed by another hold). Daniele Le Rose from Italy gave a presentation in CSUN’s “Hollywood Films & Deaf Films: Past, Present, and Future” film fest on Movement-Hold Theory (renamed “The Le Rose Cut“) and its major role in film/video editing decisions.
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