Locating Migrant and Diasporic Cinema in Contemporary Europe

Berghahn, Daniela; Sternberg, Claudia

doi:10.1057/9780230295070_2

Cited by 51 publications

(7 citation statements)

References 20 publications

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“…[…], the ghettocentric and its use of hip-hop and rap music has had a discernible influence' (2010, p.237). As a result, Black operates within the interstices of 'generic templates' and 'aesthetic strategies' (Berghahn and Sternberg, 2010) emerging from the USA and the banlieue film in France.10…”

Section: Competing Nationalisms Excluded Communities and Hip-hop Quomentioning

confidence: 99%

Nationalism in Contemporary Western European Cinema

2018

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Section: Competing Nationalisms Excluded Communities and Hip-hop Quomentioning

confidence: 99%

Nationalism in Contemporary Western European Cinema

2018

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“…There has been an ongoing debate about how the film sector supports cultural diversity, as illustrated by the recent controversy around the lack of diversity in the American film industry (BUNCHE, 2015) or the latest report published by United Nations Educational, Scientific and Cultural Organization (UNESCO, 2016) on Diversity in the Film Industry. The mutual significance of cultural diversity to film culture both in terms of broader cultural representations in film content (Berghahn and Sternberg, 2010;UNESCO, 2016) and within the film workforce (BUNCHE, 2015;Carpentier, 2003) is widely agreed. While the cultural diversity debate has been present in the United Kingdom for some time, it has run in parallel to a substantial evidence base that points to a continued scarcity, and even demise of demographic cultural diversity in the creative sector (Creative Skillset, 2012), including broadcasting (Malik, 2013) and the arts (Arts Council England (ACE), 2014; O'Brien and Oakley, 2015).…”

Section: Introductionmentioning

confidence: 99%

Rethinking cultural diversity in the UK film sector: Practices in community filmmaking

2017

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Academic, policy and industry debates have tended to focus on the mainstream film sector when discussing cultural diversity. One of the persistent challenges for the sector has been how to diversify cultural representation and participation. This article suggests that participatory modes of community filmmaking make an important contribution to cultural diversity. Drawing on an evidence base derived from qualitative research conducted in three English regions, the article shifts the spotlight away from the mainstream and onto the margins of the film sector in order to explore more 'bottom-up' approaches to cultural diversity. It examines how community filmmakers interpret and engage with questions of cultural diversity and how this connects to the participatory and business practices that they adopt. The findings highlight the significance of processes of practice in how mediated cultural diversity manifests itself and the value of community filmmaking in contributing to wider cultural diversity debates and practices.

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“…Research on European films dealing with various waves of European migration in distinct national contexts by both host-country and accented filmmakers has tended to centre on the analysis of the cinematic representation of immigrant characters, and on issues of alterity, identity, racism and solidarity (Smith 1995;Sorlin 2000;Burns 2000;Naficy 2001;Lehin 2005;Berghahn and Sternberg 2010;Luciano and Scarparo 2010). Language choice as well as complex and diverse 'translational transactions' (O'Sullivan 2011) have been downplayed in this line of research.…”

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confidence: 98%

The dis/locat/ing migrant as an agent of transposition: Borensztein’sUn cuento chinoand Segre’sIo sono Li

Chung

Luciano

2014

Studies in European Cinema

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Extending the conventional understanding of polyglotism, this article explores multiple polyglossic interactions, both intra-and extradiegetic, in two films that foreground the language and culture of the Chinese migrant, Un cuento chino/Chinese Takeaway (2011) directed by Sebastián Borensztein (Argentina) and Io sono Li/Shun Li and the Poet (2011) directed by Andrea Segre (Italy.) Both films feature dislocated Chinese immigrants who, throughout the films, speak in their native languages. In both cultural contexts Chineseness represents diametrical otherness that is difficult, if not impossible, to comprehend. Both films require their primary audiences to engage with significant quantities of spoken Chinese in order to develop a meaningful comprehension of sympathetic Chinese characters. We argue that, in contrasting ways, the films' mechanisms of polyglotism break the dominance of a singular cultural/linguistic discourse. Using Rosi Braidotti's (2006) notion of transposition, we argue that polyglotism is able to explore a nomadic vision of subjectivity whereby multiple, mobile subject positions offer modes of resistance to traditional habits of thought and representation. Understood in the context of diaspora space, a point of confluence and intersectionality, transposition enables a zigzagging and crossing, which enacts a creative leap that takes the form of a change of culture both in terms of how we think about the world and of how we inhabit it.

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Locating Migrant and Diasporic Cinema in Contemporary Europe

Cited by 51 publications

References 20 publications

Nationalism in Contemporary Western European Cinema

Nationalism in Contemporary Western European Cinema

Rethinking cultural diversity in the UK film sector: Practices in community filmmaking

The dis/locat/ing migrant as an agent of transposition: Borensztein’sUn cuento chinoand Segre’sIo sono Li

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