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An Accented Cinema: Exilic and Diasporic Filmmaking

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... As a form of Parisian backslang (or 'verlan'), the term 'beur' rearranges and inverts the word 'Arabe' to produce something new from a subject position located in-between France and North Africa. Beur therefore signifies, as Naficy (2001) has noted, a form of 'creolisation' (or hybridisation) which initially symbolised a 'fractured French identity' and pointed towards a powerful 'generational consciousness' (Bloom 1999) of young men of North African origin, who demanded to be recognised as citizens of France. ...
... Beur cinema not only emerged amidst recurrent outbreaks of violence, frustration, racism and political isolation, but in the specific geographical context of the French banlieue and 'projects' (cité), as a manifestation of the French state's 'logic of containment and regulation' (Bloom 1999, 471). For this reason, beur cinema is often conflated with banlieue cinema, due to the shared experiences of unemployment by beur, black, and white youths of French cities (Naficy 2001), something captured powerfully in Matthieu Kassovitz' La Haine (1995) (see Higbee 2019a). As scholars have pointed out, in particular Bloom (1999) and Levine (2008), there is a distinct geography to beur cinema that is didactically created on screen, including through spatial metaphors, as the films' central questions are as follows: ...
Article
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The Hollywood-inspired Maghrebi-French films Outside the Law (Bouchareb, 2010) and Free Men (Ferroukhi, 2011) narrate geographies of exclusion and belonging in Paris, France during the Algerian War of Independence (1954–1962) and World War Two (1939–1945) respectively. The films employ space and spatial metaphors to articulate and insist on the place of Maghrebi-French people in France. In doing so, they work to disrupt dominant imaginaries of Paris, whilst also revealing the possibilities for resistance in the city as seen from the point-of-view of North-African immigrants. The films are a significant part of a cultural and commercial ‘shift’ toward more mainstream filmmaking in Maghrebi-French cinema. Through reading some of the spaces in the films, this paper interrogates the ways in which they map new geographies of a (post)colonial Paris reimagined at the intersections of colonialism, beur cinema, and Hollywood. The geographical imaginaries constituted in the films are read as the product of a stylistic aesthetic that helps to locate Maghrebi-French identity beyond the confines of the French banlieue. In doing so, the paper contributes to recent debates around cultural flows and exchanges in transnational cinema by centring the importance of space in the context of an aesthetic shift in Maghrebi-French cinema.
... In reference to the home seen as a prison for women in the homeland, Hamid Naficy explains that "confinement is both national and gendered. It is national because the girl posited as a metaphor for all [Moroccans] condemned living in a panoptic disciplinary society, and it is gendered because the girl's confinement to a room is itself a haunting metaphor of women's life in Morocco [9]. ...
... Cinema is par-excellence a diasporic cinema or a cinema of displacement: "if the dominant cinema is considered universal and without accent, the films that exilic and diasporic subjects make are accented." Such accent does not necessarily come out of the accented speech of characters "in the various narratives as from displacement of filmmakers, their artisanal production mode, and their aesthetics, politics and demography"[9].Hassan Ben Jelloun uses the film not merely for coming up with a Moroccan version of women exploitation; but through several shots, he engages Screen title page of the movie. Open Access Library Journal constructively with the conditions occasioned by physical, social and psychological relocation from Morocco to other spaces. ...
... Sonuç olarak idealize edilmiş bir anavatanın ortak hafızası diasporik kimliğin kurucu unsurunu teşkil etmektedir. Naficy'e göre bu idealleştirme devlet temelli de olabilir, mevcut bir vatan sevgisini de içerebilir ya da henüz zamanı gelmemiş bir vatan arzusuna dayalı "vatansızlığı" da çağrıştırabilir (Naficy, 2001). İsrail'in kuruluşundan (1948) günümüze kadar Filistin diasporası, Filistinlilerin egemen bir devlet yaratma arzusunu da beraberinde getirmektedir. ...
... Sonuç olarak idealize edilmiş bir anavatanın ortak hafızası diasporik kimliğin kurucu unsurunu teşkil etmektedir. Naficy'e göre bu idealleştirme devlet temelli de olabilir, mevcut bir vatan sevgisini de içerebilir ya da henüz zamanı gelmemiş bir vatan arzusuna dayalı "vatansızlığı" da çağrıştırabilir (Naficy, 2001). İsrail'in kuruluşundan (1948) günümüze kadar Filistin diasporası, Filistinlilerin egemen bir devlet yaratma arzusunu da beraberinde getirmektedir. ...
Article
Following the war against Israel in 1948, Palestinian cinema underwent a substantial transformation leading to the introduction of alternative genres. Focusing mainly on the Palestinian fight and resistance, Palestinian movie directors gave more weight to documentaries. Despite Palestinian cinema being heavily affected by the post-war limitations on budgets, Palestinian directors portrayed the war and its impact in their movies. The present study aimed to analyze the illustration of this war in ‘200 meters’ directed by Amin Nayfeh. The study discusses the effects of the war on Palestinians with a view to abstract and non-abstract connotations of the concepts ‘border’ and ‘wall’ as depicted in ‘200 meters’. Based on the grounded theory, sociological and ideological criticism was instrumental in the analysis of the movie. The abstract concept of ‘wall’ represents the sorrow Palestinian families suffered from and the sociological issues that arose. More generally, it represents the obstacles Palestinians had to tackle in everyday life. Furthermore, the checkpoints on the East Bank and the restrictions on travel were perceptibly dealt with through the use of “wall”. A multi-layered narration of the dilemmas Palestinian families had, difficulties of leaving their motherland or a forced exile were found in the movie ‘200 meters’.
... In highly mobile groups, music is often one of the movable 'objects' of communal cohesion that can transfer easily across geographies and ruptures. Scholars of migration have assessed postmigratory cultural production, often studying literature and in contemporary times, film (White, 1985;Alessandrini, 2001;Naficy, 2001). However, some of the key advantages of music over literature and film as a source for analyzing migration are that music "is more popular, more democratic, and more far-reaching in both production and consumption than literary production and consumption" (Baily & Collyer, 2006). ...
Preprint
The question of how communities maintain their social cohesion despite rupture, forced conversion, displacement, and absorption of new cultural material is at the heart of Sephardi experience i. Sephardim, like other migrating groups, have developed mechanisms to maintain the integrity of the group while reformulating affiliations, rituals, traditions, and in some cases beliefs. Orality and the relationship between the written and the oral plays a crucial part in this process.
... Ciò nonostante, a tutt'oggi non esistono studi monografici su come questo genere sia stato presentato nel cinema italiano, ma solo alcune analisi di film specifici -solo per riferirmi ai succitati, faccio riferimento all'articolo su Il sorpasso di Angelo Restivo (1997) e al capitolo su La strada di Federico Fellini (1954) di David Laderman (2002, 248-53) -in volumi dedicati a questo genere. Come nel caso della fantascienza italiana -una produzione a lungo ignorata per via di un pregiudizio diffuso nei confronti di questo genere -, si può dire che i road movie italiani siano stati più frequentemente analizzati benché fossero film di genere e non in quanto tali (Brioni, Comberiati 2020, 11 (2017) In epoca recente, numerosi film dedicati all'immigrazione hanno utilizzato elementi del road movie per mostrare la centralità del viaggio in epoca contemporanea ed esplorare questioni di memoria, identità e dislocamento (Naficy 2001;Ezra, Rowden 2006 Talien si apre in una cascina situata a Rovato, in provincia di Brescia. Si sentono delle voci parlare in dialetto bresciano (con sottotitoli in italiano), mentre Elia sta aggiustando un vecchio camion militare trasformato in un camper e chiamato Safinat al-Sahra, la nave del deserto. ...
Book
The series Diaspore. Quaderni di ricerca originates from the desire to investigate the human being’s diasporic dimension, in its various forms. In the mechanisms implemented by the globalisation’s processes, which tend to assimilate the diversity and to blend the inevitable conflicts arising from the difference, the diasporic and migratory phenomenon can paradoxically be the original element to safeguard an individual and a culture in a new territory, providing a peculiar reflection area in which the conservation of that starting culture, but also the interstitial territories and the hybridism phenomena between this and the target culture can be preserved. Research laboratories of these realities will be mainly the cultural, literary, and artistic productions, generated in particular historical contexts, in territories including Europe and Africa, the Mediterranean, the Balkans and the Americas, regions where the culturally-composite identities, on heterogeneous bases, reveal the vitality of moving cultures.
... suhteessa esimerkiksi ohjaajien taustaan (Naficy 2001), tuotannon rakenteeseen ja teemojen valintaan (Suner 2006). Higbeen (2007) mukaan elokuva onkin aina ollut luonteeltaan ylirajainen, vaikka vasta hiljattain sitä on ryhdytty tarkastelemaan transnationaalin näkökulman kautta elokuvatutkimuksen alueella. ...
... En el caso de cineastas rroma contemporáneos de otros países, existe una bibliografía más amplia que ha investigado la obra de realizadores y realizadoras como Laura Halilovic (Italia), Sami Mustafa (Kosovo), Katalin Bársony (Hungría) o Tony Gatlif (Francia) (Ippolito, 2019;Rucker-Chang, 2018;Iordanova, 2008Iordanova, , 2001Dobreva, 2007;Naficy, 2001). Aunque los estudios que analizan las representaciones de los gitanos en el cine español desde un enfoque crítico de estereotipos y distorsiones miméticos son abundantes (Arranz, 2015;Villarmea Álvarez, 2009;Santaolalla, 2005;Garrido, 2003;Smith, 2000;Nair, 1999), las lecturas anticoloniales de estas son relativamente recientes y escasas (Cortés, 2020;Woods Peiró, 2012;Labanyi, 2004). ...
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Número 33 de L'Atalante. Revista de estudios cinematográficos dedicado a la nueva generación de mujeres cineastas españolas. Shaila García Catalán, Aarón Rodríguez Serrano, Marta Martín Núñez (coords.). Autores (Authors): Goksu Akkan (Baheşehir University), Sue Aran-Ramspott (Universitat Ramon Llull), Loreto Ares (investigadora independiente), Laura Calvo Gens (Universidade de Santiago de Compostela), Manuel Canga Sosa (Universidad de Valladolid), Sergio Cobo Durán (Universidad de Sevilla), Susana Díaz (Università degli Studi di Firenze), Pietsie Feenstra (Université Paul Valéry 3 Montpellier), Samuel Fernández-Pichel (Universidad Pablo de Olavide), Shaila García Catalán (Universitat Jaume I), Tecla González Hortigüela (Universidad de Valladolid), Josep Lambies Barjau (Universitat Pompeu Fabra), Marta Martín Núñez (Universitat Jaume I), Sergio Meijide Casas (Universidade de Santiago de Compostela), Francisco Javier Miranda García (Universidad Rey Juan Carlos), Tamara Moya Jorge (Universidad Carlos III de Madrid), Víctor Navarro Remesal (TecnoCampus, Universitat Pompeu Fabra), Beatriz Pérez Zapata (Valencian International University; TecnoCampus, Universitat Pompeu Fabra), Aarón Rodríguez Serrano (Universitat Jaume I), Ernesto Taborda-Hernández (Universidad Rey Juan Carlos), Klaus Zilles (Universitat Ramon Llull).
... Com efeito, percebe-se claramente que partem da suposição de que a experiência da "diáspora", ou da "origem cultural", por si só, parece exigir desses cineastas uma "resposta estética distinta". Desse modo, conceitos como "sotaque" (NAFICY, 2001), "visualidade háptica" (MARKS, 2000) e "ótica diaspórica" (MOORTI, 2003), acabam sugerindo que uma estética da "dupla consciência", do "duplo pertencimento", do "hibridismo", pode ser identificada como mais uma característica distintiva desse tipo de cinema. No entanto, quando se busca pensar a noção de "resistência", nos termos propostos, ela parece estar apenas ligada à "identidade cultural híbrida dos cineastas", como acreditam Daniela Berghahn e Claudia Sternberg (2010, p. 25). ...
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Nos últimos anos, a história africana tem sido objeto de celebração e discussão, mas também disputas, em diferentes âmbitos – acadêmico, político, cultural. Particularmente, por meio do resgate e valorização do passado africano, tem-se buscado entender criticamente as contradições de seu presente e, a partir disso, formar alicerces que ajudem na edificação de um novo futuro para o continente. Um dos pilares desse processo de re-visão tem sido, reconhecidamente, as suas produções artísticas, e, em especial, a sua produção cinematográfica – considerada ao mesmo tempo como produto e produtora de Histórias. Dito isto, o artigo busca lançar luz sobre as continuidades e descontinuidades da produção audiovisual africana nas últimas décadas, a fim de entender como o continente africano e sua população têm sido imaginados e re-imaginados em diferentes momentos da história recente.
... It is no accident 16 That concept of accent cinema has many forms marking the transnational practices of cultural hybridity: intercultural cinema, ethnic cinema, immigrant cinema (migrant cinema), cinema of the diaspora. (For more details see Naficy, 2001). As Mara Matta (2009: 34) also notes on the characteristics of Tibetan cinema in exile, "Films are a way to understand and overcome the drama of exilic life. ...
Conference Paper
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The Tibet Buddhist tradition is a specific system for a vertical and horizontal transmission of the culture of one generation to the next. This transmission is realized through a relevant training or initiation. The holy text has an absolute value, while its further hermeneutic development in the way of interpretations and comments is a priori viewed as secondary, complementary and commenting. The cinema art is a kind of modern, interpretative commentary of Buddhism. Through the audio-visual media the religious transmissions have been delivered, transformed and incorporated in new forms, utilizing the semiotic power of the cinema language. The proposed paper examines three very different films which articulate various views of Tibetan Buddhism, its sacral continuum, symbolism, and being on the screen. In these case studies the interpretation of religious narrative is determinate as a process of gradual transformation. The main focus is onMilarepa which has been studied as a cinematic kind of namtar (spiritual biography) which visualizes the pure doctrine and corresponds closely with the didactic tradition in Tibetan holy poetry. Additionally the analysis traces interpretations of the life of the Tibetan yogi in Eric-Emmanuel Schmitt’s and Liliana Cavani`s works.
Chapter
This chapter aims to document and trace the transnational journeys of Sooni Taraporevala’s screenwriting and filmmaking. As a skilled photographer for many years, followed by screenwriting for Mira Nair’s films, her screenwriting constructs the exilic worlds of her characters through an almost cinema vérité approach. I argue that universalism frames the hybridized and multicultural identities of the South Asian diaspora in her work. The terrain of the home is explored through imaginative utopian constructs that mediate the problems of an immigrant out in the world. Self-discovery narratives then become the node by which her characters emerge to fight the gritty realities of life. On the one hand, the transnational lens lends the Indian identity a global perspective in Taraporevala’s work, and on the other hand, her position as the immigrant film professional dependent on the Hollywood systems of funding reinforces the questions around the representation of Indian identity. Thus, this chapter places her work in a multicultural framing and layers it with the critiques and questions around representation.KeywordsScreenwritingTransnational idiomExileIdentityDiaspora and representationTransnational storytellingUniversalism
Article
Quais são as determinações contextuais e institucionais que intervêm na recepção transnacional dos filmes? Seguindo uma linha de reflexão que se situa entre as abordagens geopolítica e semiopragmática do cinema contemporâneo, tecemos algumas considerações teóricas e metodológicas sobre os modos de leitura e interpretação do world cinema nos espaços acadêmicos. Revisamos as principais concepções teóricas sobre o fenômeno de “transnacionalidade” cinematográfica. Examinamos a lógica de formação de comunidades de interpretação, os sistemas de valores e os horizontes de expectativas no conjunto heteróclito definido por Elsaesser e Hagener (2010) como “comunidade transnacional de ideias”. Partimos dessa categoria (geográfica e, ao mesmo tempo, teórica) para repensar os estudos do world cinema como um campo de microespaços de comunicação, de recepção e de leitura fílmica (ODIN, 2011). É nessa reconstrução teórica que reavaliamos, por fim, a problemática dos (in)variantes no processo de negociação dos sentidos dos filmes contemporâneos africanos no “espaço discursivo” universitário.
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El pueblo maya yucateco ha sido conformado como una alteridad histórica dentro de la emergencia y consolidación del Estado nación mexicano. Abundantemente representado en el ámbito audiovisual desde posiciones discursivas colonialistas y miradas exógenas, sus realidades contemporáneas han quedado invisibilizadas en la gran pantalla como consecuencia de la denegación de la coetaneidad a los pueblos indígenas y campesinos de América Latina. Este trabajo propone, sin embargo, un acercamiento a las creaciones audiovisuales contemporáneas de los propios realizadores mayas que hacen aflorar epistemologías del sentir situadas en el propio territorio rural mediante lo que se ha denominado ecocine. En concreto, estudia el caso del realizador Robin Canul y el documental ¿Qué les pasó a las abejas? (2018), que sigue el proceso de defensa del territorio por parte de los apicultores de la península de Yucatán y su lucha contra la empresa Monsanto por la siembra de soya transgénica. Los métodos de investigación empleados en el trabajo han sido la revisión filmográfica, el análisis fílmico y la entrevista personal con sus creadores. Entre los resultados, se presta atención a cómo se codifica el discurso del buen vivir en la película, así como las estrategias descolonizadoras desde el punto de vista de la representación de la ruralidad. Como conclusión, se observa la importancia de la creación cinematográfica desde un conocimiento situado como parte de un movimiento político contemporáneo más amplio de defensa de la vida campesina en la península yucateca en el contexto del impulso de macroproyectos turísticos.
Book
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Cinema Studies is a comprehensive book that, is hoped, will provide students and researchers with film studies and other persons interested in cinema with a useful reference book on film analysis and, where relevant, the different discussions surrounding that. The contributors analyze some films using ideas and concerns from modernism, cinematographic narrative, ideology, propaganda, migration, nomadism, and the sense of revenge. The book provides new insights into films and turns the discussion towards recent research questions and analyses, representing and constituting in each contribution new work in the discipline of film text analysis. Therefore, each chapter of this book, which consists of 9 chapters, consists of works that subordinate film, the art of imagination, to the holistic comprehension of social theory by transforming the visible and perceptible reality of the social world into a magical atlas of sealed moments. A summary of the chapters included in this timely book is discussed below. Chapter 1, by Kenan Subasi and Alev Fatos Parsa, examines the technology of VR Cinema and 360 Degree Film, which is the extension of interactive cinema, focusing on the new media’s change, transformation, and opportunities. Authors examine the short film Refugee Crisis in the context of the 360-degree film; the position of the director, the part of the audience, 360-degree framing and orientation, dynamic narrative structure, and transformation from the audience to the user were evaluated in terms of form and content. Authors stress the fact that the VR cinema and 360-degree film technology is in a transitional phase today. Chapter 2, by Sedat Cereci, evaluates cinema as an illusion-based technique and an approach with fascinating results. The author analyzes the effects of cinematic time on human psychology by focusing on cinematic time, which creates a fascinating impact on cinema. The author stresses the fact that the cinematic time reveals the turning points of the lives of the characters in the film and the connections with the theme of the film. The author also argues that cinema time is, in a sense, the magic stick of the director. Chapter 3, by Burak Medin analyzes the narratives of animated films, which have become mass cinema by appealing to large masses, within a social, cultural, and ideological context based on the presentation of the heroic subject and its presentation to the audience. For this purpose, it was tried to show how the subject as a hero forms his journey, which discursive structures the hero takes place in, and how the hero is built in the narrative of the animated film. It was analyzed in the light of the assumptions formulated by taking sections from the film Cars, which constitutes the study sample, in the context of Greimas’s theory that he designed based on the subject. Chapter 4, by Selcuk Ulutas and Murat Aytas, reveals the feelings created in the audience with the sense of revenge that drives the characters (affect) imaged through Chan-Woo Park’s Oldboy film and how they produce a cinematic experience as an aesthetic strategy. Authors determine that the director stylizes the sense of revenge throughout the film through many characters as a deep philosophical problem and as a morally impeccable-looking emotion that drives the narrative of the film. Chapter 5, by Ahmet Oktan and Tugba Elmaci, explores migration, nomadism, and transgression of borders in the film Mondo. Authors discuss Gatlif’s approach to migration and nomadicity discussed in the example of the film Mondo. In this framework, the film is subjected to a philosophic.al analysis on the axis of concepts such as migration, nomadism, and posthuman subjectivity by authors. Authors stress the fact that Gatlif, especially in the subtext of the narrative, opened the phenomenon of nomadism to the discussion in the context of its philosophical expansions and carried this process beyond the experience of transgression between people and intercultural borders. Chapter 6, by Huseyin Kose and Zeynep Baki, focuses on why keeping the political and ideological facts related to the state apparatus out of sight by focusing on a motif that has not been dwelled on extensively before but can be considered quite specific for Demirkubuz’s cinema. The authors present some clues to the invisible and uncertain functioning of the state and ideological phenomena in general and its possible causes through the images and metaphors in the movies of Demirkubuz, using the content analysis method. They attribute the main reason for this to the low awareness of the characters about social reality. Therefore, they state that their existential concerns precede the rules that govern the social world. Chapter 7, by Burak Turten, focuses the documentary films produced from 1896 to the present, which express the date of the arrival of cinema in the Ottoman Empire, in the context of the ideological apparatus of the state. The main purpose of the study is to examine the recent ideological structure of Turkish documentary cinema based on the Akıncı documentary film. The authors stress the fact that Akıncı documentary film is compatible with the policies of the dominant political ideology and contains national and religious elements. The relationship between film and ideology is not only limited to the content of the film, but it has also been determined that the dominant power has a direct effect on the production and broadcasting processes of the film. Akıncı documentary film functions as the ideological apparatus of the state. Chapter 8, by Asli Yurdigul and Yusuf Yurdigul, generally questions the function of news in the cinematographic narrative. The authors specifically focus on thinking about news from a cinematographic perspective by analysis of the film Contagion. In this study, in which the film analysis model was used, firstly the news scenes in the movie Contagion were determined and then the functions of these scenes in the cinematographic narrative and the features of these functions were questioned. The authors contribute to the limited literature on the subject by examining and evaluating two seemingly somewhat distant fields such as film and news. Chapter 9, by Ali Karadogan, focuses on modernism between two worlds in the context of the film Time to Love which is a unique example of how it defies the rules of the industrial space within, representation styles, and narrative lengths of Turkish cinema. Author discusses this rejection of Time to Love which opposed the themes, representation style, and narrative strategies of the era by analyzing the film text and evaluating it in opposition to Yeşilçam. I would like to thank in particular Karabuk University and Northern Arizona University for giving me the opportunity to contribute to the development of the cinema discipline. I especially thank Prof. Dr. Frederick DeMicco, who has created conducive and stimulating scholarly environments. I am grateful to Dr. Muhittin Cavusoglu who compiled the index, for assistance. I also wish to record his enormous gratitude to Dr. Aysegul Acar who has worked tirelessly on this project, for her generous support, patience, and assistance throughout the process. In conclusion, I would also like to thank all authors who contributed to the production of this essential and timely book. I believe the chapters included in this book offer useful and important information for researchers, students, and practitioners in the context of cinema Editor Burak Turten
Article
The military rule that was inaugurated by the coup d’état of 12 September 1980 plays a key role in the history of modern Turkey. With this seizure of power, the third since the foundation of the republic, the military promoted a set of reforms that radically reshaped the political system, the institutions, and society. Even though elections were held three years later, the regime left an enduring legacy that remains hard to come to terms with. At the same time, studies on the military era have started to flourish almost simultaneously and the regime never ceased to be a prominent research object. This article maps the historiography on the 1980 era by discussing a selection of publications that in the past forty years opened the debate or led it in new directions. The article engages with the work of scholars from various disciplines and academic traditions, without neglecting publications by journalists and other authors. Even from this mapping, that includes a small and not exhaustive sample of studies, the 1980 era emerges as an undoubtedly complex period, whose understanding can count, however, on a set of landmark publications.
Article
This article offers a contextual analysis of Annemarie Jacir’s film Wajib . I argue that Jacir employs the tropes of ‘the exasperating ride’ and ‘bittersweet duty’ as a means of demonstrating the material conditions endured by Palestinians in Nazareth, documenting mundane acts of sumuud in the face of personal and collective traumas, and articulating the complex sociopolitical landscape inhabited by Palestinians. Employing the interrelated tropes of the exasperating ride and bittersweet duty, Jacir ‘humors the Palestinian homeland’, thereby eschewing clichéd representations of Palestinians. The usage of the term ‘humor’ refers to a sense of eliciting frivolousness, as well as a sense of accommodating difference. Palestinian protagonists in Wajib often utilize humor as a survival mechanism; they also humor other Palestinians, whose worldviews, relationship to the land and modalities of steadfastness may differ from their own. The film emphasizes the polyphonous voices circumventing an exclusive master-narrative about the Palestinian homeland.
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It is a collective volume written and created by 48 authors honouring Ágnes Pethő's comprehensive and in-depth work on intermediality.
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Çok dillilik ve görsel-işitsel çeviri konularını bileştiren çalışmada iki temel amaç güdülmüştür. Birincisi çok dillilik olgusunun çeviride ve toplumlarda ve dolayısıyla da medya ürünlerinde artan yansıtımına dikkat çekmek. İkincisi, bu olgunun özellikle görsel-işitsel ürünlerde yansıtımının önemini ve zorluklarını vurgulamak. Çok dilliliğin ve çok kültürlülüğün özellikle de günümüz dünyasında ve iletişimde önemini vurgulayan giriş bölümünü takiben, çok dillilik, toplum ve görsel-işitsel çeviri bölümü altında kavramlar ve bu araştırmaya benzer çalışmaların neden gerekli olduğu anlatılmış ve farklı alan yazınlarına gönderme yaparak bir kuramsal çerçeve çizilmiştir. Bir sonraki bölümde makalenin analiz ve örnek bölümünde verilecek incelemeyi açıklamak ve bunun için artalan bilgisi oluşturmak için çok dilliliğin görsel-işitsel çeviri kapsamında tanımı, dublaj ve altyazı çevirisinde yansıtımı konuları işlenmiştir. Yöntem bölümünde analizde incelenecek örneklerin neden seçildiği anlatılmış ve bu da araştırmanın kapsamı ve amacı ile bağlantılandırılmıştır. Örnekler ve analiz bölümü altında çok dillilik ve görsel-işitsel çeviride çok dillilik dört farklı altbaşlık altında incelenmiştir. Her bir örneğin sonunda da çevirmen seçimleri, eserin çeviri yönteminin ürünün alıcılarının algısını nasıl etkileyebileceği, özgün ürünün yaratım amacına uygunluğu gibi hususlar üzerinde durulmuştur. Sonuç bölümünde, verilen kuramsal çerçeve, artalan bilgisi ve örnekler ve analizleri üzerinden giderek çok dilliliğin günümüzde görsel-işitsel ürünlerin yoğun bir unsuru haline geldiği ve bu amaçsal unsuru her zaman tam anlamıyla yansıtacak tatmin edici örneklerinin Türkçede henüz görülmemediğinin altı çizilmiştir ve olası nedenleri örneklenmiştir. Ancak, görsel-işitsel ürünlerde çok dillilik unsuru giderek arttığı ve görsel-işitsel çeviri sektörlerinde üzerinde ivedilikle üzerinde durulması gereken bir konu olduğuna vurgu yapılmıştır.
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This article explores the development of the Our Cinema project in Scotland: a revolving annual curriculum of film education for upper primary and lower secondary age children in state schools that, at the time of writing, is approaching a pilot phase. Discussion explores the project’s origins in France’s Cinéma Cent Ans de Jeunesse, and its relationship with the Catalan film education project Cinema en curs, before focusing in particular upon how a school-based programme of film education might seek to explore vernacular conceptions of cinema, through a focus on dialect, place and the lived experiences of participants. The article concludes by offering a detailed, concrete proposal of a film education curriculum, comprising two years (each broken up into 32 weeks) of creative learning activities.
Article
Narrating my reflections on the quarantine during the COVID-19 pandemic in 2020 and my experience of the crisis in Syria, this paper studies the ways fear can transform into resilience by examining the self-reflexive works Path Out (Causa Creations, 2016) and Another Kind of Girl (You Must know, 2016). Using digital media, the creators of these works of art construct autobiographical, educational, and interactive narratives about coping and belonging in the course of the crisis. I propose viewing both texts as examples of ‘resilient communication’ that reacts to social and cultural issues brought about by crisis and suggests creative solutions that convey optimistic views of the future. Outlining the conventions of resilient communication, in turn, promotes the production of media works that use educational, creative and autobiographical techniques to foster collective resilience.
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In 1993, Barbara Creed conceptualized the ‘monstrous-feminine’ as the nightmare embodiment of female difference itself. Now, in films, television series and fan-produced social media texts focused on the desires and subjectivities of female monsters, the monstrous-feminine protagonist has ‘embarked on a life of her own’ (Chare et al., Re-reading the Monstrous-Feminine: Art, Film, Feminism and Psychoanalysis. Routledge, 2020: 96). As an introduction to this survey of her screen representations, this chapter reviews theoretical frameworks, thematic and production trends that have shaped her. A key precursor to these texts with their emphasis on monstrous transformation is the 1979–1997 evolution of Ellen Ripley from Final Girl to hybrid monster across the arc of the Aliens franchise. In the present, these texts with their abject, resistive and disruptive femininities speak to broader trends in screen production, especially efforts at gender diversification, which have produced, among other things, a new generation of female anti-heroes. At the same time, the representations of monstrosity and monstrous self-fashioning surveyed here also recall earlier literary traditions of the female gothic, especially in the role played by the monstrous doppelgӓnger as a ‘mirror-text of female desire’ (Becker, Gothic Forms of Feminine Fictions. Manchester University Press, 1999: 57). At its conclusion, this chapter details the organization of the rest of the volume.
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The series Diaspore. Quaderni di ricerca originates from the desire to investigate the human being’s diasporic dimension, in its various forms. In the mechanisms implemented by the globalisation’s processes, which tend to assimilate the diversity and to blend the inevitable conflicts arising from the difference, the diasporic and migratory phenomenon can paradoxically be the original element to safeguard an individual and a culture in a new territory, providing a peculiar reflection area in which the conservation of that starting culture, but also the interstitial territories and the hybridism phenomena between this and the target culture can be preserved. Research laboratories of these realities will be mainly the cultural, literary, and artistic productions, generated in particular historical contexts, in territories including Europe and Africa, the Mediterranean, the Balkans and the Americas, regions where the culturally-composite identities, on heterogeneous bases, reveal the vitality of moving cultures.
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Nigeria and South Africa are two regional powers in Africa whose motivation for cooperation, collaboration, partnership, or competition has implications for Africa. In comparative terms, the two countries remain Africa’s regional economic and military powerhouses and possess extensive soft power resources as well. Despite the geographical distance separating them, both countries have continued to engage in diplomatic relations. However, the recurring Afrophobic/xenophobic incidences in South Africa have resulted in episodic diplomatic row between Pretoria and Abuja. Although the theme of cultural diplomacy is not novel in Africa regional discourse, the role of the creative industry in addressing the pervasive mistrust between Nigeria and South Africa remains underexplored. This paper argues that by emphasizing mutually admired cultural products between citizens of both countries, the shared suspicion that fuels xenophobic outbursts can be curbed significantly. The authors explore the role of certain arms of the creative industry such as film industry, afro-pop music, national festivals, and cultural troupes to enhance people-to-people interactions and mitigate the devastating effects of Afrophobia in the continent.KeywordsCultural diplomacyAfrophobiaNigeria-South AfricaForeign policyRegional powers
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This communication seeks to address the complex issue of audiovisual creation in the context of transnational mobility. If the transnational dynamics of international contemporaneous cinema have been gaining more and more space in the social sciences, here we intend to articulate the migratory paths of two well-known Latin American filmmakers living in European countries - Brazilian Karim Aïnouz in Germany and Argentinean Pablo Agüero in France- with their films. Indeed, the most recent films of the two directors seems to have taken a “transnational turn”, not only from an economic perspective (being international co-productions) but also in a formal and narrative point of view, mainly picturing stories from outside their homeland. Moreover the entire filmography of these two filmmakers will allow us to interrogate the rapports between cinema and (trans)national cultures in the contemporary world.
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A tese aborda a teoria e história do som e música na tradição documentária, com foco no período entre a década de 1920 e 1980. Através de cue sheets, partituras, roteiros, diários, cartas, textos de realizadores, documentos de produções fílmicas, entrevistas, manuais de equipamentos, materiais de arquivos, textos acadêmicos e dos filmes em si, a pesquisa se debruça sobre a formação dos aspectos éticos e estilísticos que nortearam o fazer sonoro documentário ao longo do século XX. Sob uma perspectiva diacrônica, são discutidas as transformações e os aspectos contingentes dentro de uma filmografia mundial representativa. O primeiro capítulo aborda os primeiros paradigmas sonoros dos filmes não ficcionais do período mudo. O segundo capítulo se debruça sobre a conformação dos aspectos sonoros da produção documentária da década de 1930 a 1950 indicando os elementos herdados do período mudo e aqueles que nascem com a estabilização do formato sonoro-visual do documentário. O terceiro capítulo se dedica ao documentário moderno – abordando uma filmografia dos anos 1950 aos 1990 – apontando para os elementos sonoros das décadas anteriores que são reapropriados e transformados nos novos contextos éticos, estilísticos e tecnológicos que começam a brotar no pós Segunda Guerra. Os resultados apontam para uma história do som no documentário que se caracteriza mais por seus aspectos perenes que por eventuais rupturas: o novo não se sustenta – nem epistemologicamente, nem na práxis – sem aquilo que lhe precedeu. A tese, ao final, busca contribuir com o nascente campo dos estudos do som do documentário, através de um texto que se pretende panorâmico e introdutório. Palavras-chave: documentário (cinema); som no cinema; música de cinema; trilha sonora Abstract The thesis addresses the theory and history of sound and music in the documentary film tradition, focusing on the period between the 1920s and 1980s. Through cue sheets, scores, scripts, diaries, letters, texts by filmmakers, film production documents, interviews, equipment manuals, archival materials, academic texts and the films themselves, the research focuses on the formation of the ethical and stylistic aspects that guided the sound documentary making throughout the 20th century. From a diachronic perspective, transformations and contingent aspects within a representative world filmography are discussed. The first chapter addresses the first sound paradigms of non-fiction films from the silent period. The second chapter focuses on the conformation of the sound aspects of documentary production from the 1930s to the 1950s, indicating the elements inherited from the silent period and those that were born with the stabilization of the sound-visual format of the documentary film. The third chapter is dedicated to modern documentary – covering filmography from the 1950s to the 1990s – pointing to the sound elements of previous decades that are reappropriated and transformed in the new ethical, stylistic and technological contexts that began to emerge after the Second World War. The results point to a history of sound in documentary that is more characterized by its perennial aspects than by eventual ruptures: the new cannot be sustained – neither epistemologically nor in praxis – without what preceded it. The thesis, in the end, seeks to contribute to the emerging field of studies of documentary sound, through a text that intends to be panoramic and introductory. Keywords: documentary film; film sound; film music; soundtrack
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The main goal of this dissertation is to try to understand the cinema as a way to express women’s oppression, in this particular case, under the perspective of Islamic Feminism, a political-religious movement that emerged in Muslim countries and is present in their diasporas. In the first part, we analyse the relevant theoretical framework for our analysis, trying to understand Islam and analyse the context and evolution of Islamic Feminism in Iran, our context of analysis. In the second part, we analyse the idea of women’s cinema as a global and multifaceted cinema; and with regard to the cinema as denouncer of oppression, we analyse the movement of Third Cinema to understand how it works as a tool to understand the political and cultural reality of societies, through its aesthetics and contents. In the third part, we contextualize the situation of women in the history of Iranian cinema and analyse the New Iranian Cinema. Therefore, we analyse two films of Iranian director Samira Makhmalbaf, The Apple and At 5 in the Afternoon and we try to understand how these films fit in the movement of Islamic feminism and can be used to denounce the oppression of Muslim women.
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Life in exile presents hardship and brings with it multiple personal and socio-political challenges and grievances. Being forced into separation from family and home society often stimulates the desire to maintain belonging and contact with families and communities. “Co-presence” and “being there” require a lot of personal effort and commitment. Communication and mediation strategies have a special significance as everyday practices in social and digital media technologies. “Mobile belonging” and staying connected across various online and offline spaces and in various social and political environments and communities can be a constant requirement in digital exile. After an introduction to relevant literature about the complexity of media communication, belonging, and migration, the article examines mobile media technologies and the central role they play in everyday exile. Following a discussion about the notion of “digital exile” and “mobile belonging,” the second part of the article will focus on a specific case study of an Iranian artist and activist living in exile in Germany. It will show how (social) media promotes activism and performance in both online and offline public spaces as practices of “mobile belonging here and there” during the Covid-19 pandemic. Thirdly, the article will turn to a methodological reflection about doing ethnographic research on digital exile and practices of mobile belonging. With a systematic description of applied methods, early developments in multi-modal ethnography will be outlined that illustrate how collaboration and co-creation promise innovative directions for doing ethnography on digital exile in the different-yet-shared times of the pandemic crisis.
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La cobertura gráfica de la migración es una constante en la prensa española de los últimos años dada la actualidad noticiosa vinculada con estos movimientos humanos. Esta investigación explora la capacidad de la imagen fotográfica para el retrato de las personas migrantes y cómo se produce este tratamiento gráfico. Para ello se centra en el estudio de caso de la fotografía tomada en 19 de mayo de 2021 por Bernat Armangue en la playa de El Tarajal (Ceuta) que muestra el abrazo entre la cooperante de Cruz Roja España, Luna Reyes, y el senegalés, Abdou. Este documento fotográfico impactó en la opinión pública nacional e internacional y tuvo gran difusión en redes sociales. Usando un protocolo de análisis que describe y analiza la imagen en cinco niveles (contextual, compositivo, morfológico, enunciativo y global), la presente investigación nos aproxima a la capacidad del fotoperiodismo para aglutinar en representaciones muy concretas conflictos muy complejos movilizando así a la opinión pública. La polémica asociada a la difusión de esta imagen nos permitirá también explorar cuestiones vinculadas con la ética y la deontología de la profesión fotoperiodística sobre todo cuando se desarrolla en entornos digitales
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The study ventures into a topic that has been so far largely neglected in film studies: the ‘gypsy’ phantasm on the big screen. It reconstructs the history of ‘gypsy’ representations in film since the birth of the medium providing a systematic film-theoretical analysis of their aesthetic and social functions. Based on a corpus of over 150 works from European and US cinema, it is shown that ‘gypsy’-themed feature films share the matrix of an ‘ethno-racial’ masquerade, irrespective of the place and time of their origin. The author thus expands the research, concentrated until now in the field of literature, with another art form, film, opening up new dimensions of (popular) cultural antigypsyism. To read the book in an HTML format or to download it as a PDF file, please visit the website of Heidelberg University Publishing: https://heiup.uni-heidelberg.de/catalog/book/989?lang=en
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Digital media allowed filmmakers to move quickly in capturing the disasters and expanded the possibilities for documentary filmmaking in the post‐3.11 period. This chapter examines the leading female filmmaker, Kamanaka Hitomi's anti‐nuclear documentaries, Mitsubachi no haoto to chikyu no kaiten (Ashes to Honey, 2010) and Chisaski koe no kanon: Sentakusuru hitobito (Little Voices from Fukushima, 2015). By focusing on Ashes to Honey and Little Voices from Fukushima, it elucidates her films' “newness,” which helped bring about the cultural turn, in their three attributes: a style of dissemination, voluntary screening (jishu‐joei) and multiple digital mediation; the films' glocal subjects in the age of global ecology; and a mode of production, “intelligible aesthetics” often associated with television documentary. Kamanaka's documentaries have brought a cultural turn in Japanese documentary history.
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This concise, precise, and inclusive dictionary contributes to a growing, transforming, and living research culture within both humanities scholarship and professional practices within the creative sectors. Its format of succinct starting definitions, demonstrations of possible routes of further development, and references to new and revisited concepts as “conceptual invitations” allows readers to quickly uptake and orient themselves within this exciting methodological field for didactic, scholarly and creative use, and as a starting point for further investigation for future contributions to the new canon of critical concepts. Critical Concepts for the Creative Humanities is the first book to outline and define the specific and evolving field of the creative humanities and provides the field’s nascent bibliography.
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This article employs creative film-making to explore the doing of the intimate and personal aspects of the intercultural encounter. It offers an alternative paradigm for the use of visual methods for ethnographic and auto-ethnographic research. Drawing on phenomenological and auto-ethnographic perspectives, it investigates the lived, subjective experience through film-making praxis via excerpts of the experimental audio-visual essay A caressing dialogical encounter (Rifeser, UK, 2019). By using “pensive-creative praxis” (Rifeser, 2020a), a parallel can be established with an understanding of the intercultural encounter in its all its multi-dimensional and multi-layered complexity (Ros i Solé, forthcoming, 2022).
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Addressing the absence of second-generation exiles from Southern Cone post-dictatorship memory scholarship, this paper compares two documentaries: Hora Chilena, about the British-Chilean community and Tus padres volverán, depicting Uruguayan exiles across Europe – both made by and/or about the no retornadxs (those who did not return to their countries of origin after dictatorship). The paper deploys documentary to offer a nuanced depiction of the hijxs del exilio (children of exile), finding them to be distinct to both the protagonist generation and their second-generation peers in the Southern Cone. By incorporating neglected voices and reframing post-dictatorship memory in Europe, the paper challenges memory narratives about second-generation exile.
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The paper takes as a starting point the concept of dissensus understood by the French philosopher Jacques Rancière as a gap in, or a redistribution of the right to speak, to see or to be seen. The paper further asserts that dissensus, thus understood, perfectly encapsulates the efforts of the post-Yugoslav filmmaker Želimir Žilnik: to intervene in representational order and render visible the socially marginalised and invisible. The notion of political cinema, usually associated with Žilnik, is here redefined as a practice geared towards changing the rules of visibility and towards a redistribution of the authority/right to speak and be seen. The paper also emphasises the immediacy of representation in Žilnik and argues that Žilnik’s ideological horizons revolve around Marx’s concept of immediate experience, rather than around historical Marxism. Lastly, the paper relates Žilnik’s early interrogations of social exclusion to his later preoccupations with displacement and exile and focuses on the author’s 2018 film The Most Beautiful Country in the World. In conclusion, the paper puts forward the suggestion that Žilnik’s last film, while showcasing some of its author’s long-standing views of exile, brings forth a new, transnational and socially pragmatic vista on the processes of integration and acculturation.
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The article considers one dominant tendency of independent filmmaking, and its impact on the treatment of the refugee (broadly conceived): the application of contemporary documentary methods to both fiction and nonfiction works. The goal is a preliminary exploration of the complex, context-sensitive political effects of the approach, sometimes dubbed the "documentary style", as resistance of (and/or submission to) the hegemonic global-nationalist order. To this end, the paper investigates specifically how such filmmaking efforts mayor may not-redirect the phenomenological vehicle of imagination away from narrow nationalist imaginaries towards a broader humanist identification and emotional (and normative) investment in the stranger or "the other" per se. The focus is on two works in particular, Another News Story (Orban Wallace, 2017) and Before Summer Ends (Avant la fin de l'été, Maryam Goormaghtigh, 2017), identifying how the filmmakers' broadly pluralistic techniques help avoid the potentially dehumanising pitfalls of more didactic approaches, but also generate their own potential limitations. While the slackening of the subject's categorical-and the plot's narrative-shape may be liberating, it also risks a phenomenological disconnection on the part of the potentially interested spectator. The cognitive effects-including impediments to memory and recall-may thus weaken the work's potential as a vehicle of cultural awareness and social identification. Daily news reports attest to a widespread xenophobic turn, routinely expressed in negative images of and attitudes towards migrants, whether blessed with the legitimacy of refugee status or otherwise. Though not itself the focus of analysis, such a political landscape forms the context and point of departure of what follows. The "hostile environment"-a stipulated objective of British immigration policy since 2010-normalises discourse and imagery indifferent and/or hostile to perceived interlopers. What follows is a consideration of efforts to use the vehicle of moving images against the grain of this environment, in order to depict the migrant in a way that promotes greater understanding and sympathy. Its motivation is an explicitly political interest in the conditions of a more positive and mutually rewarding encounter between host and refugee. Social-scientific-or humanistic-inquiry is, as Robert Cox maintains, "always for someone and for some purpose" (128; emphasis in the original). Its rigour depends not on the dubious exercise of assuming a position of impartiality but on making one's normative presuppositions as transparent as possible. With this in mind, the work at hand reflects an interest in how beliefs, values and norms might be affected (if not reconstituted) in a way that enhances receptiveness to both the needs of those who relocate across national boundaries, and to their potential value as new impulses or contributors. This is an empirical question in itself, but one directed by solidarist normative considerations, specifically to serve a globally egalitarian social agenda, assuming that insight into how such an agenda is served might be of use, at least in principle, to its embodied servants: those who pursue such broadly progressive goals through their artistic or political practice. The question of how films might affect audiences' empathetic identification with the migrant subject is empirical but not easily susceptible to investigation, let alone the yielding of
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Transnational Chinese women filmmakers reflect the enormous changes happening in the global film industry as well as political, economic, technological, social, and cultural transformations taking place in the region since the beginning of the millennium. An analysis of Hong Kong writer-director Aubrey Lam’s Anna & Anna (2007) uncovers how this film explores the divided psyche of a woman torn between “two systems” that model femininity for women in Singapore and Shanghai in the 21st century. Lam’s narrative touches on issues central to the work of many women working across the Chinese-speaking world including migration, labor relations, postcolonial and postsocialist identities, commodification of female bodies in consumer culture, cross-border sexualities, female desire and domesticity.
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This special issue engages the historical and contemporary heterogeneity of the Gulf, which was a transcultural space long before the discovery of oil. Over the past two decades, Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, and the United Arab Emirates have actively begun to harness the media’s power, while at the same time grassroots productions—online, through social media and in regional festivals—reframe assumptions about film and visual media. With resident expatriate population comprising up to 90 percent of the population in Gulf states, film and visual media complicate conventional frameworks derived from area studies, such as ‘Arab media’, ‘Middle Eastern and North African cinema’, or ‘South Asian film’. These articles also unsettle the modernist divisions of media into distinct categories, such as broadcast television and theatrical exhibition, and consider forms that move between professional and nonprofessional media, and between private and semi-public spaces, including the transmedia spaces of theme parks and shooting locations. Articles examine the subjects of early photography in Kuwait, the role of Oman TV as a broadcaster of Indian films into Pakistan, representations of disability and gender in Kuwaiti musalsalat , tribal uses of social media, and videos produced by South Asian and Southeast Asian expatriates, including second-generation expatriates.
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This study aims to discuss Tony Gatlif’s “accented cinema”, which deals with the lives of minorities and nomads and the reflexivity brought by these lives in many of his films, in terms of philosophical expansions. The unique style which the director builds by using cinema’s means about being a Gypsy or from an ethnic minority while opening the majority to questioning transforms the film-watching experience into a specific intellectual adventure. In Gatlif’s approach, which includes elements that coincide with Hamid Naficy’s definition of “accented cinema”, nomadism emerges as a minor element and, nomadic Gypsy communities, inside all the inhabitants of the world, display a minor existence. This philosophical reflexivity in Gatlif’s films, which is similar to Franz Kafka in terms of masterfully presenting words of a minor community, is examined by focusing on, Latcho Drom (1992), Gadjo Dilo (1997), Exils (2004), Transylvania (2006) and Korkoro (2009) films. Questions like revealing reflexivities in terms of the director’s accented images and what these elements mean on account of difference and minor cinema debates form the film analyses’ basic questioning fields and the obtained findings are discussed by taking reference to Gilles Deleuze and Felix Guattari’s concepts who see cinema as a philosophical perception and thinking activity. In this context, Deleuze and Guattari’s ontology of difference and minor cinema approach is the intellectual background of this study to be made on Gatlif cinema.
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This article aims to analyse of the relevance of female authorship in the creation of contemporary epistolary cinema, focusing on letter-films and filmic correspondences. The works of various filmmakers are essential to understand the evolution of these enunciation devices since the emergence of cinematic modernity to the present moment. Since Agnès Varda represented an epistolary correspondence between women –L’une chante, l’autre pas (1977)– and Marguerite Duras created an epistolary diptych as two identity-alterity variations –Aurélia Steiner (1979)–, other women filmmakers have developed this cinematic form. Letter-films delve into epistolary seriality and materiality –Cartas visuales (Tiziana Panizza, 2005-2012,) and Envíos (Jeannette Muñoz, 2005-2017)– and deepens the concept of alterity –Elena (Petra Costa, 2012). Filmic correspondences work on emotion-image –This World (Naomi Kawase and Hirokazu Kore-eda, 1996), In Between Days (Naomi Kawase and Isaki Lacuesta, 2009)– and shows female intersubjectivity –Correspondencia: Fernando Eimbcke - So Yong Kim (2011), Life May Be (Mania Akbari, Mark Cousins, 2014), A Moon for My Father (Mania Akbari, Douglas White, 2019), Transoceánicas (Meritxell Colell Aparicio, Lucía Vassallo, 2020). Women’s letter-films and filmic correspondences delve into the exploration of intimate space, authorial vindication and epistolary materiality, in order to create diverse experiences of female alterity and intersubjectivity
Thesis
http://deepblue.lib.umich.edu/bitstream/2027.42/111678/1/prljevic_1431546592.pdf
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The purpose of my paper is to analyze the way in which diasporic experience builds and represents identities in the video project called Taraspanglish Shorts/Cortos Tarasplanglish. Tarasplanglish Shorts/Cortos Taraspanglish consists of a series of videos from one to four minutes that address the experience of migration and cultural continuity/discontinuity forged by the Purépecha community of Michoacan in Mexico, migrating to Madera, California in the United States. I propose that the audiovisual work of Indigenous videomakers may be understood as autoethnographic work that makes reference to identify formation derived from the process of migration. The purpose of this article is to analyze the strategies through which Indigenous videomakers represent/construct the identities of migrants using documentaries. Particularly, I explore how the Indigenous videomakers have adapted reflexive and performative modes of documentary to narrate the diaspora and to represent Indigenous communities participating in this experience. At the same time, I examine how these identities shaped by migratory subjectivity are inserted into the national and transnational contexts. The style of these shorts reveals how the videomakers conceive their subjects in the diaspora: mobile, performative and in constant construction. To demonstrate this, I have selected two productions. The first one is What is Taraspanglish? a short video that explains the purpose of the project and sets the general visual style of the project. The second short selected, Danza de la Identidad, in which a young Purépecha makes a re-interpretation of the traditional identity dance or Danza Celeste.
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