It was here [in minority cinema, i.e. work by immigrant, exile, and diaspora filmmakers and videomakers] that I first saw works of political cinema that appealed to the senses, while questioning the instrumentality of vision. For example, the videos by Hopi artist Victor Masayesva seemed to deflect the gaze and only partially offer his culture for viewing. The well-known video by Palestinian artist Mona Hatoum, Measures of Distance, offered a kind of close-up vision of a woman’s naked body (her mother in the bath) that invited contact more than distanced observation, across the distance of the family’s exile. And in a short video called Seeing Is Believing by Canadian artist Shauna Beharry, the artist evokes the memory of her deceased mother not by looking at pictures of her but by conveying what it feels like to wear her sari. In this last work especially, it seemed that there was something struggling to be expressed that was too fragile to make it into the image. This fragility had to do with the movement between cultures, the loss and retranslation of meaning. It seemed to me that the meaning that was so important in Seeing Is Believing could only survive if it were translated into another form: in this case, into touch.
—Laura U. Marks, “Haptic Visuality: Touching with the Eyes”