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Relevant bibliographies by topics / Diasporic Cinema

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Dissertations / Theses
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Academic literature on the topic 'Diasporic Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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Journal articles on the topic "Diasporic Cinema"

1

Naficy, Hamid. "Multiplicity and multiplexing in today's cinemas: Diasporic cinema, art cinema, and mainstream cinema." Journal of Media Practice 11, no. 1 (2010): 11–20. http://dx.doi.org/10.1386/jmpr.11.1.11/1.

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Mandal, Somdatta. "Indian diasporic literature and cinema." South Asian Diaspora 7, no. 2 (2015): 184–86. http://dx.doi.org/10.1080/19438192.2015.1057984.

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Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.

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Kerner, Aaron Michael. "The Circulation of Post-Millennial Extreme Cinema." Asian Diasporic Visual Cultures and the Americas 2, no. 3 (2016): 200–220. http://dx.doi.org/10.1163/23523085-00203002.

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Extreme cinema is an international trend which encompasses a wide range of cinematic genres: thrillers, dramatic narratives, so-called “art films,” and horror films. In the context of Asian extreme films, we find an especially highly-dynamic crisscrossing of influences. There is an assumption in the Western imagination that the Asian diaspora is unidirectional insofar as Asian populations gravitate toward the beacons of Western civilization. Trends in post-millennial extreme cinema however disrupt this particular diasporic narrative. This article argues that post-millennial extreme films are not simply a bidirectional flow, but rather a complex circulation of themes, aesthetic motifs, and filmmakers.

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Kwon, Seojung. "Diasporic Consciousness of Home in Zainichi Cinema." Journal of Literature and Film 21, no. 2 (2020): 525–53. http://dx.doi.org/10.36114/jlf.2020.9.21.2.525.

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Anderson, Kevin Taylor. "An Accented Cinema: Exilic and Diasporic Filmmaking." Journal of the Society for the Anthropology of Europe 2, no. 2 (2002): 60–62. http://dx.doi.org/10.1525/jsae.2002.2.2.60.2.

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Phillips, A. "An Accented Cinema: Exilic and Diasporic Filmmaking." Screen 44, no. 3 (2003): 343–46. http://dx.doi.org/10.1093/screen/44.3.343.

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Pinazza, Natália. "Transnationality and transitionality." Alphaville: Journal of Film and Screen Media, no. 1 (August 17, 2011): 8–20. http://dx.doi.org/10.33178/alpha.1.02.

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This article examines Sandra Kogut’s The Hungarian Passport (2001) in the light of recent theoretical debates on diasporic and postcolonial filmmaking. It focuses on how Kogut’s displacement—both as the granddaughter of Jewish refugees and a foreigner in France—permeates the structure of the documentary in terms of narrative, visual style, subject matter and theme. In the process, the article addresses questions of transnational cinema in a postcolonial and diasporic context by exploring how the film’s transnational representations interrogate the validity of both national cinema and cultural identity as fixed concepts in contemporary Europe.

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Qi, Xiangu. "Mahjong, Chinese diaspora cinema and identity construction." East Asian Journal of Popular Culture 7, no. 2 (2021): 223–40. http://dx.doi.org/10.1386/eapc_00050_1.

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Through a comparative study of two films, The Joy Luck Club and Crazy Rich Asians, the article elaborates how Chinese diaspora films use Mahjong’s cinematic symbolism and cultural significations to negotiate Chineseness in different ways. In particular, three differences between the two films are analysed. The first one is the different attitudes of the female protagonists towards Mahjong as well as the Chineseness embodied by it. The second concerns the disparate presences of Mahjong in films made by mainland China-based filmmakers and Chinese diasporic filmmakers due to Mahjong’s differed historical trajectories and sociocultural implications. The last one is about the distinct goals the two film directors set when they employ Mahjong to (re)construct their identity and Chineseness on the part of the Chinese diaspora. This article concludes that Chineseness is not a monolithic and rigid category, but rather a chameleonic formation that is contextually and individually determined; moreover, in the age of globalization when coexistence and interdependence are valued more than mutual-resistance, the dynamic nature of Chineseness necessitates a more hybrid and critical identity framework: in-betweenness.

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Phruksachart, Melissa. "The Bourgeois Cinema of Boba Liberalism." Film Quarterly 73, no. 3 (2020): 59–65. http://dx.doi.org/10.1525/fq.2020.73.3.59.

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If what characterizes Asian American radical politics in 2020 is an articulation of the difference between, and interrelatedness of, the Asian diasporic elite and the migrant poor, the 2018 Asian American films Crazy Rich Asians and Searching achieved mainstream success by celebrating the emergence of the former. The media paratexts of Crazy Rich Asians used race-consciousness as putative resistance, engendering “messianic visibility”—an over-investment in cinematic identification as possessing transformative, even curative, political and personal potential for liberal cisheteronormativity. Meanwhile, Searching's marketing as a film not about race was a significant talking point in the U.S. press. Its colormuteness functioned to normalize the entanglement of Asian diasporic elites in the ranks of Silicon Valley's digital empire. The films’ lack of friction in relation to surveillance capitalism and neoliberal empire ultimately highlights the contradictions of race and/as resistance in the present moment.

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Dissertations / Theses on the topic "Diasporic Cinema"

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Soldavini, Irene. "Identity in Vietnamese diasporic cinema." Thesis, SOAS, University of London, 2010. http://eprints.soas.ac.uk/28926/.

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French and American cinema has portrayed Viet Nam and the Vietnamese in narratives which, broadly-speaking, are reflective of French and American ideologies. The Vietnamese, in these productions, have generally been presented as the object, and not as the subject. However, since the 1980s, an interesting and significant cinematic counter-narrative to the Western idea of Viet Nam has been constructed. This is because the Vietnamese diaspora in France and in the United States has started making films about its own experiences of French colonial rule, the Vietnamese-American conflict, the Vietnamese Communist regime, exilic journeys, contemporary Viet Nam, and the generational conflicts among the Vietnamese diaspora. The identities of the diasporic Vietnamese- particularly the younger generations- have, inevitably, been strongly shaped by these themes, but, at the same time, are also clearly influenced by the culture and values of the new country. The thesis demonstrates how diasporic Vietnamese film makers construct narratives which clearly express hybridized identity: their output presents both aspects of a traditional Western discourse and, significantly, elements not seen in American and French productions.

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Tunc, Ayca. "Diasporic cinema : Turkish-German filmakers with particular emphasis on generational differences." Thesis, Royal Holloway, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538775.

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Saini, Roopa. "Crossing boundaries : Indian diasporic screen culture in the USA and UK." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517894.

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Marquez, Zaida. "Articulating a diasporic identity: The case of Latin American filmmakers in Quebec." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28420.

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The flow of immigrants to Canada continues to increase steadily. Questions regarding identity are thus unavoidable in order to understand how diasporic identities are constructed within a multicultural Canada. An important contribution to this debate is embedded in the cinematographic expressions that immigrants produce. Such cultural products serve not only as mean to represent themselves, but also to negotiate their positions in regards to Canadian society, as well as their countries of origin. The Latin American community is an interesting example, as multiple cultures, nations, histories, and identities are included within it. This study critically analyzes how identity is represented in the films produced by Latin Americans in Quebec. The analysis takes into account the films, the filmmaker's perspective and the conditions these documentaries were produced in. Given these elements, this research looks at how a Latin American identity is constructed from the diaspora, and what kind of cinematographic strategies the filmmakers use to articulate such an identity.

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Koul, Priyanka. "Indian Diasporic Identity Explored Through Reel and Real Space." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282049647.

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An, Ji-yoon. "Family pictures : representations of the family in contemporary Korean cinema." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/268018.

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The family has always been a central narrative theme in cinema. Korean cinema has been no exception, where the family has proved to be a popular subject since its earliest days. Yet Western scholarship on Korean cinema has given little attention to this dominant theme, preferring to concentrate on the film industry's recent revival and its blockbusters. Scholarship in Korea and in the Korean language, on the hand, has continuously discussed some of the major cinematic works on the family. However, such literature has tended to be in the form of articles discussing one or two particular works. A comprehensive study of the family in contemporary Korean cinema therefore remains absent both in Korean and in English. This thesis is an attempt to provide such a work, bringing together films on the family and writings on them in both Western and Korean scholarships, as well as filling the gaps where certain trends and patterns have gone undetected. How are the changes in the understanding of the family or in the roles of individual family members reworked, imagined, or desired in films? Taking this question as the starting point of the research, each chapter explores a separate theme: transformations in the structure of the family; faltering patriarchy and fatherhood; motherhood and the extremity of maternal love; and certain children's experiences of the family. The first chapter detects a general move away from the traditional patriarchal nuclear family and an interest in depicting alternative families, exploring shifting family forms in contemporary society and the public discourses surrounding them. The second chapter highlights the contradictory ways that the father has been illustrated in films during and after the IMF crisis. The third chapter explores a branch of recent thrillers that depicts mothers as dark and dangerous characters, offering an interesting cultural framing to the multiple perceptions of the mother figure in contemporary society. Finally, the last chapter aims to extend representations of the 'Korean family' to include films by/about those currently living outside of Korea, namely Korean emigrants and adoptees.

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Cheung, Wai Yee Ruby. "Hong Kong cinema 1982-2002 : the quest for identity during transition." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/516.

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McFadden, Emmie. "The in-between : film adaptation, Irish cinema and diaspora." Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/20040/.

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This thesis draws on Film Adaptation Studies and Irish Diaspora Studies, two interdisciplinary fields that are fundamentally concerned with the concept of 'origin'. It focuses specifically on the notion of the 'unacknowledged adaptation', namely films that do not declare formally their status as adaptations. In terms of Irish Diaspora Studies, my interest lies in the phenomenon of the 'hidden' Irish diaspora in England. This thesis will offer a new perspective on the significance of the 'unacknowledged adaptation' by creating a parallel between a film's ambiguous enunciation of its sources and the ambivalent national identity of its characters. Drawing on critical methodologies from film adaptation studies, postcolonial studies, and diaspora studies, I seek to create a rigorous analytical framework for exploring the notion of the 'hidden' Irish diaspora in the 'unacknowledged adaptation'. This framework specifically combines the theories of postcolonial and diasporic theorist, Homi Bhabha (1994) and film adaptation theorist, Kamilla Elliott (2003), each of whom respectively undermines claims of pure cultural identities and aesthetic forms in order to foreground the notion of 'hybridity'. Combining the theories of Elliott and Bhabha not only enhances discussions on hybridity, but it also enables the recognition of a process of adaptation and of diasporic identities that would otherwise be left unacknowledged. Focusing on three case studies, Mary Reilly (dir. Stephen Frears, 1996), Liam (dir. Stephen Frears, 2001), and Breakfast on Pluto (dir. Neil Jordan, 2005), this thesis argues that the obscuring of origins in these films not only paradoxically draws attention to the act of adaptation, but it also serves to highlight themes of diaspora. I argue that the cultural hybridity evoked in the film adaptations is specifically signalled through word/image hybridity: the syntactical relationship between the word and the image enables the emergence of a liminal space 'in-between' the designations of identity, thus creating a hybrid dialectic that functions to draw attention to the act of concealing origins.

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Datta, Pulkit. "Bollywoodizing Diasporas: Reconnecting to the NRI through Popular Hindi Cinema." Miami University Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1209924713.

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Shin, Chi-Yun. "Diaspora and cinematic formations : black British cinema,the 1980s and 1990s." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400903.

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Books on the topic "Diasporic Cinema"

1

Centre for Advanced Studies in India, ed. Indian diasporic literature and cinema. Centre for Advanced Studies in India, 2014.

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An accented cinema: Exilic and diasporic filmmaking. Princeton University Press, 2002.

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3

Contact zones: Memory, origin, and discourses in Black diasporic cinema. Wayne State University Press, 2008.

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European cinema in motion: Migrant and diasporic film in contemporary Europe. Palgrave Macmillan, 2010.

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5

The politics of contemporary European cinema: Histories, borders, diasporas. Intellect Books, 2002.

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Loshitzky, Yosefa. Screening strangers: Migration and diaspora in contemporary European cinema. Indiana University Press, 2010.

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Bollywood and globalization: Indian popular cinema, nation, and diaspora. Anthem Press, 2011.

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Screening strangers: Migration and diaspora in contemporary European cinema. Indiana University Press, 2010.

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Loshitzky, Yosefa. Screening strangers: Migration and diaspora in contemporary European cinema. Indiana University Press, 2010.

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Loshitzky, Yosefa. Screening strangers: Migration and diaspora in contemporary European cinema. Indiana University Press, 2010.

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Book chapters on the topic "Diasporic Cinema"

1

Rawle, Steven. "Exilic and Diasporic Cinema." In Transnational Cinema. Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-53014-1_5.

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Tarr, Carrie. "Gendering Diaspora: The Work of Diasporic Women Film-Makers in Western Europe." In European Cinema in Motion. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230295070_9.

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Berghahn, Daniela, and Claudia Sternberg. "Locating Migrant and Diasporic Cinema in Contemporary Europe." In European Cinema in Motion. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230295070_2.

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Jones, Gareth. "Future Imperfect: Some Onward Perspectives on Migrant and Diasporic Film Practice." In European Cinema in Motion. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230295070_14.

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Jäckel, Anne. "State and Other Funding for Migrant, Diasporic and World Cinemas in Europe." In European Cinema in Motion. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230295070_4.

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Berghahn, Daniela. "Coming of Age in ‘the Hood’: The Diasporic Youth Film and Questions of Genre." In European Cinema in Motion. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230295070_12.

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Higbee, Will. "Diasporic and Postcolonial Cinema in France from the 1990s to the Present." In A Companion to Contemporary French Cinema. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118585405.ch6.

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Steele, Jamie. "Diasporic Belgian Cinema: Transnational and Transcultural Approaches to Molenbeek and Matonge in Black." In Nationalism in Contemporary Western European Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73667-9_6.

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Rodríguez, Encarnación Gutiérrez. "Transculturation in German and Spanish Migrant and Diasporic Cinema: On Constrained Spaces and Minor Intimacies in Princesses and A Little Bit of Freedom." In European Cinema in Motion. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230295070_6.

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Meek, Allen. "The Past Awaits: Migrant Histories and Multidirectional Memory in the Cinema of Vincent Ward." In Migrant and Diasporic Film and Filmmaking in New Zealand. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-1379-0_2.

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Conference papers on the topic "Diasporic Cinema"

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Riera Retamero, Marina. "Touki Bouki: (des)encuadres políticos de la diáspora estética." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10292.

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La presente comunicación propone un acercamiento al filme Touki Bouki (1973) del director senegalés Djibril Diop Mambety, utilizando las siguientes figuras sensibles de la filosofía de Jacques Rancière como prisma epistémico: la fiction documentaire (Rancière, 2001); le régimen esthétique de l’art (Ibíd., 2011); la police, la politique et le politique (Ibíd., 2003). Así, esta investigación se propone explorar las temporalidades de una ficción documental (Rancière, 2001), que resalta una ambivalencia contrariada entre; por un lado, imágenes representacionales de un contexto post-Independencia o postcolonial (Césaire, 1950) en la ciudad de Dakar (Senegal); y por otro, la proclamación de una traslación de los espacios de la diáspora (Lao-Montes, 2007) hacia una «diaspora estética» (Peffer, 2013); a través de una puesta en escena que reensambla los recursos tácitos propios de las Nouvelle Vague con un dispositivo político y social de visibilidad (Rancière, 2001) que se sabe capaz de suspender la lógica historiográfica de la subalternidad colonial (Spivak, 1985). Asimismo, pensar el filme como una propuesta de desplazamiento hacia los márgenes «pasivos» del activismo político (Rancière, 2010). Un desplazamiento hacia prácticas no-discursivas, sino estéticas. Ya no son las imágenes documentales que pretenden dotar de «mayor realidad» (Sontag, 2003) a una situación determinada, propias de la militancia del Tercer Cine (Getino &amp; Solanas, 1969); sino, por el contrario, la correspondencia entre formas de identificación estéticas capaces de desactivar los dispositivos policiales (Rancière, 2003) y coloniales de las retóricas amo-esclavo (Han, 2005) / opresor-oprimido (Freire, 1968). Aquí, una consecución visual que oscila entre la acción política determinante y verosímil; y la vida sin razón, propia del arte estético (Rancière, 2001), que identifica formas emancipatorias basadas en la libertad del “no saber” (Mambety, 1999).

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