The Other in Contemporary Migrant Cinema


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Migrant and Diasporic Film in Contemporary Europe

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The Other in Contemporary Migrant Cinema: Imagining a New Europe?

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“The People Are Missing”: New Refugee Documentaries and Carceral Humanitarianism • Senses of Cinema

Dina Iordanova explores one such content in Chapter 2, examining the post transnational movements triggered by the collapse of the Eastern Bloc, the Yugoslav Wars, and the expansion of the European Union. She also presents an intriguing structural and historical analogy between post-colonialism and post-communism.


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Malik examines the ethnic fragmentation of postcolonial diasporic cinema in Britain, which was once unified under the label of Black British cinema Chapter 6. She also deals with changing production modes in new diasporic cinemas, such as British Asian cinema, a story of a successful independent, transnational cinema; and Black British cinema, a constrained local cinema.

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Santaolalla, on the other hand, focuses on the shifting status of Spain, Italy, and Greece from countries of emigration to those of immigration—shifts that have affected their film cultures since the s Chapter 7. These new countries of immigration are now witnessing films by non-migrant filmmakers focusing on the hardships of migrant life—corollaries to pioneering films of the s by directors including Rainer Werner Fassbinder and Helma Sanders-Brahms.

Ep. 1 - The Cinema of Wong Kar-wai

Two chapters in the book treat the topic of migrant and diasporic film through the lens of gender and sexuality. Williams is more interested in correspondences between queer and migrant identities Chapter 9. By contrast, Daniela Berghahn focuses on youth in her query of migrant and diasporic cinema Chapter Some chapters utilize general concepts to elaborate more broadly on the topic of migrant cinema.

Representing Migration in Contemporary Media and Narrative

Her main idea is that the use of music shifts the outdated narrative of migration as leaving home and settling down in a new home to more multi-centered, non-linear narratives, which are closer to transnational mobility. The book also includes two useful chapters on funding sources for migrant and diasporic film production. While Anna Jackel evaluates state, pan-European, and other funding initiatives for migrant, diasporic and world cinema Chapter 3 , producer and filmmaker Gareth Jones provides his perspective on Babylon, a cultural forum and film development program in which diasporic and migrant filmmakers from across Europe can meet, compare notes, and share their creative aims — The editors distinguish between migrant filmmakers, who have taken part in a migratory experience, and diasporic filmmakers, including second-generation migrants.

This distinction relies on the generational difference of migrant communities, ignoring varying motives of migration, and equating post-colonial migrants, labor migrants, diasporic subjects in the classical and narrower sense , and exiles.

The Other in Contemporary Migrant Cinema The Other in Contemporary Migrant Cinema
The Other in Contemporary Migrant Cinema The Other in Contemporary Migrant Cinema
The Other in Contemporary Migrant Cinema The Other in Contemporary Migrant Cinema
The Other in Contemporary Migrant Cinema The Other in Contemporary Migrant Cinema
The Other in Contemporary Migrant Cinema The Other in Contemporary Migrant Cinema
The Other in Contemporary Migrant Cinema The Other in Contemporary Migrant Cinema

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