A Deleuzean Look on Tony Gatlif's Accented Cinema (original) (raw)
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Exilicand Ethnic Accented Cinema and Hamid Naficy
In this paper, I’ve taken case study of migrated filmmakers in Europe as an example. Europe not only entertain the migrant filmmakers as host but also gives opportunity to explore the rich pluralized culture composed of indigenous and several migrated groups (of filmmakers) pursuing different cultural ideologies in filmmaking. In Europe exilic or migrated communities of filmmakers keeps the prominent place, they live in the Europe but pursue different and uniques subjects, those are mostly dependant on their native culture, language and past social belonging. According to Naficy, exilic filmmakers (in Europe) make films based on their personal experience of exile, diaspora and ethnicity, through accented cinema style films. Naficy’s work for exilic and accented cinema is considered great contribution in the history of the media studies, but somewhere his work contradicts with theoretical approach, of categorizing migrated filmmakers into accented cinema, I will highlight the criticism on his work in my argument.
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2018
Representations of the Roma are ubiquitous in the history of Balkan cinema. These films have tended to be by non-Roma directors, with the Roma as the object of representation. Consequently, the critical reception of the films has focused on the issue of verisimilitude. In recent scholarship critics have utilized the psychoanalytic concept of "projective identification" to account for the persistent interest in Gypsy culture and life. In this paper I draw on an alternative tradition of Lacanian psychoanalysis to argue that Tony Gatlif's Gadjo dilo, rather than presenting an authentic picture of Roma culture, foregrounds the impossibility of representation ever truthfully capturing the object. Deploying the Lacanian concepts of das Ding and "The Woman does not exist," the paper demonstrates how Gatlif problematises the very notion of the Roma as a homogenized culture and identity.
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Political and Personal: Pilar Távora and Cinema of Romani Reexsistentia
L'Atalante. Revista de estudios cinematográficos, 2022
While gypsy imaginaries have played a key role in the representation of a certain idea of national identity throughout the history of Spanish cinema, the social subjects, i.e., the Rroma, have traditionally been relegated to the position of object of the gaze rather than narrators of their own filmic discourses. This research considers contemporary self-representations in cinema based on an epistemology of situated feeling (Periáñez Bolaño, 2016) among the Rroma people and analyses the operations evident in films that contribute to processes of decolonisation of ethno-racial modes of representation. To this end, this article approaches the work of the Spanish filmmaker Pilar Távora from a decolonial perspective and contextualises it in what is described here as Cinema of Romani Reexsistentia. The methods used to achieve these objectives include a review of the literature and of the director’s filmography, an in-depth interview with the filmmaker herself and an analysis of her latest film, Helios Gómez, tinta y munición (2019).
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2019
The present thesis focuses on the representations of the Roma minority in Yugoslavian and Serbian narrative film. As a corpus-based study (with the total of 35 films divided into seven periods running from 1945 to 2010), it examines in detail the representational strategies employed in depicting the filmic Roma, and aims to specify a developmental trajectory that these strategies take. To this end, a two-step analytical procedure is used: (1) Information Structure Analysis, the analytical framework developed by the present author for the purposes of studying narrative representations, makes use of the diegetic domain categories (Topic/Focus; Active/Passive/Perceiver) as well as the meta-diegetic domain categories (Frame Setter) in order to identify the narrative signals deployed in the construction of minority representations. (2) Narrative-Semiotic Analysis is concerned with the specifics of the representational content. It takes as input the findings of the Information Structure A...
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Romani Cinema : Screening at the Cinémathèque Française (Avant-garde film sessions)
The intersection between the avant-garde cinematography and Romani families (Roma, Manush, Gitanos, Gypsies, Travellers, Sinti, Zingari) combines two forms of critical initiatives: visual replicas on the one side, developed against the figurative defamations to which these families are subject, as a work of documented objection and rectification, putting the ideological dimension of imagery into the light; and on the other side, the descriptions and statements made freely, outside of any polemic or prejudice.
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A Critical Analysis of Iranian Exilic Cinema is presented in this reflective piece
A Critical Analysis of Iranian Exilic Cinema, 2023
The sentiment of nostalgia and the experience of exile have been frequently depicted by Iranian filmmakers in their works. The objective of this paper is to provide a meticulous examination of the stylistic preferences adopted by Iranian filmmakers whose cinematic works reflect a yearning for their native land, or a reimagined recollection of their former home. Consequently, filmmakers endeavor to convey their sentiments and encounters of exile and diaspora through the use of symbols and equivocal messages, contingent upon their circumstances of being in exile or otherwise. In particular, an analysis will be conducted on the cinematic productions of Iranian filmmakers, which exhibit significant features of Naficy's interpretation of accented cinema. (2001). This paper primarily focuses on the case studies of Jafar Panahi's cinematic work titled "This Is Not A Film" (2011) and Bahaman Ghobadi's film "Rhino Season". (2012). Prior to delving into the analysis of the aforementioned films, it is imperative to engage in a discussion regarding the definition(s) of the concepts of exile, diaspora, and accented cinema. This theoretical foundation will serve as the framework for the analysis presented in the first two chapters. The first chapter provides a concise account of the evolution of Iranian cinema, and elucidates the impact of Italian Neorealism and French New Wave on the same. Furthermore, the text examines the socio-political elements that influenced the development of Iranian cinema in both the pre- and post-revolutionary era.
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PhD Thesis: Nomadism in the Cinema of Trinh T. Minh-ha
Nomadism in the Cinema of Trinh T. Minh-ha, 2019
The concept of nomadism - which stems from Gilles Deleuze and Félix Guattari and evolves into feminist and postcolonial critiques - provides an analytical framework to address the undetermined, multifaceted portrayal of tribal and diasporic women in the cinema of Trinh T. Minh-ha.The thesis explores subject positions in selected films by Trinh through the work of Braidotti (2011) and the ―mestiza consciousness‖ proposed by Anzaldúa (1987), that provide an embedded and embodied philosophical basis for a nomadic film aesthetics and frame of analysis.The border is discussed as a site of encounter across cultures and social demarcations of alterity. The second chapter explores the nomadic film strategies that destabilise the time-space configuration of the film narratives in The Fourth Dimension (2001) and Night Passage (2004).Chapter 3 analyses Trinh‘s tactics that create a politics of ―speaking nearby‖ in Reassemblage (1982) and Naked Spaces - Living is Round (1985), and to what extent a nomadic approach can suspend utterance about Third World women.The last chapter looks at borders between Self and Other, the West and the rest, and how these lines are defied, blurred, or displaced in Tale of Love (1995). The history of ―Third Cinema (Solanas and Gettino 1969) is examined as a prelude to a postcolonial position on a cinema of exile. The notion of ―third space‖ in Homi Bhabha's critique of Third Cinema, ―haptic visualities‖ in Laura Marks and the ―crossroads‖ in Gloria Anzaldúa are evoked to examine ―spaces in-between‖, where the border is deterritorialized.
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Against a Migrant Cinema. Critical Reflections on the Postcolonial Perspective.
Cinergie, 2019
The notion of “migrant cinema”, on the one hand, tends to historicize a phenomenon,recognizing in the current socio-political context a common ground on which such products, despite theirdiversity, can grow; on the other hand, like any codification, this historicization tends to bring back to thecollective sphere what is often an individual artistic expression: as it does not speak of society, it is simplynot interesting. In this sense, as we will try to argue in this essay, the postcolonial perspective on the onehand proves to be effective, as it opens up film studies to important methodological contaminations; on theother hand, as a negative consequence, it tends to treat “migrant cinema” as a genre in its own right, thustransforming the “eye of the migrant” into an “eye on migrant”. In a critical-theoretical perspective, thispaper will debate on how the denial of the existence of a migrant cinema is not an attempt to deconstruct aconsolidatedhistoriographicalframe, butonthecontrary, itisawaytoavoidthatthishistoricizationimpliesand replicates the same dynamics of abjection that it tends to eliminate.
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