Transcultural Cinema debated in a Knowledge Network: postcolonial hybrid meanings within resistance cinema (original) (raw)
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Screening postcolonial intellectuals: cinematic engagements and postcolonial activism
Transnational Screens, 2022
This special issue proposes new ways of seeing and thinking about postcolonial intellectuals through the frame of transnational screens. For this purpose, the issue develops around the twofold notion of the intellectual as a filmmaker and the intellectual as an object of filmmaking. In particular, it focuses on the ways in which this interrelationship expands notions of postcolonial theory and practice regarding the aesthetic and political intervention of intellectuals in transnational screen culture. Many postcolonial figures have been influential not only in rethinking the ways in which representation should be conceived and theorized but also in inspiring new forms of visuality and aesthetics through their life and work. These figures include Frantz Fanon, Assia Djebar, and Stuart Hall, and others explored in this issue, such as Toni Morrison, Raoul Peck, Ai Weiwei, and Steve McQueen. The special issue also includes exclusive interviews with Ai Weiwei and Trinh T. Minh-ha, artists, intellectuals, activists, and filmmakers whose engagement with postcolonial debates, and more broadly with the politics and aesthetics of filmmaking, have contributed to a reshaping of contemporary postcolonial realities and discourses, in scholarship and the public sphere.
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.
Transnational Cinema and Posthumanism
Mexican Transnational Cinema and Literature, 2017
This chapter examines the concept of transnational cinema through the lens of posthumanist theory, drawing connections to Mikhail Bakhtin's ideas on heteroglossia and dialogism. The author problematizes traditional notions of national cinema, arguing that transnational film production and circulation challenges rigid categorizations based on national boundaries. By applying biological metaphors from posthumanism and Bakhtinian theory, the chapter reconceptualizes transnational cinema as a quasi-living entity that evolves and proliferates across cultural ecosystems. The author proposes viewing transnational films as "languages of heteroglossia" that dialogically interact with global interpretive communities, mutually shaping each other in an ongoing process. This perspective offers new ways to understand the migration of cinematic forms, ideas and talents across borders. The chapter concludes by advocating for embracing the vitality and mutability of transnational cinema as a counterpoint to reductive nationalist frameworks. --------- Este capítulo examina el concepto de cine transnacional a través del lente de la teoría poshumanista, estableciendo conexiones con las ideas de Mijaíl Bajtín sobre la heteroglosia y el dialogismo. El autor problematiza las nociones tradicionales de cine nacional, argumentando que la producción y circulación cinematográfica transnacional desafía las categorizaciones rígidas basadas en las fronteras nacionales. Al aplicar metáforas biológicas del poshumanismo y la teoría bajtiniana, el capítulo reconfigura el cine transnacional como una entidad cuasi-viviente que evoluciona y prolifera a través de ecosistemas culturales. El autor propone ver las películas transnacionales como "lenguajes de heteroglosia" que interactúan dialógicamente con las comunidades interpretativas globales, moldeándose mutuamente en un proceso continuo. Esta perspectiva ofrece nuevas formas de comprender la migración de formas cinematográficas, ideas y talentos a través de las fronteras. El capítulo concluye abogando por abrazar la vitalidad y la mutabilidad del cine transnacional como contrapunto a los marcos nacionalistas reductivos.
Third-world cinema: Creating People and Resistance
Journal of Philosophy, Culture and Religion, 2018
Cinema has introduced new approaches of expression for contemporary philosophy, that is inherited by Nietzsche, by departing from philosophy to meet the non-philosophic. Going to graphic museums or to cinema is a pivotal moment in order to encounter a particular concept; cinematic signs express ideas not only in the form of scenes, colours, lines of drawing, but also in the form of musical sounds. To understand a concept is no more and no less easy than watching a film, as a result, we will try through this article to address the importance of cinematic discourse and the relationship with the other , through the cinema of the Third World. In other words, how can cinematic art draw a new relationship with the other, opening up this relationship to what the self and the closed circles of identity are?. And how to address the subject of the other in international cinema. Keywords : Philosophy, third-world cinema, the Other, Liberation
2010
The idea of developing the notion of transnational cinema as a tool to describe and articulate conceptions of cultural change in diasporic, global, non mainstream cinema, is what allows us to go beyond national cultural fields, but still allows us to account for the relationship between local and global. Transnational cinema becomes a site of interrogating the formation of representation, cultural practice and identity. By moving away from stereotyping, as form of representation, by engaging in social practices that promote diversity and by changing the notion of identity as necessarily being constructed in opposition to 'others' is how transnational cinema makes a contribution translocate cosmopolitanism. 'Cultural' cosmopolitanism lies at the heart of transnational cinema as presented in this article and cultural cosmopolitanism as social practice also lies at the heart of politics of diversity. This article explores how film, through hybridity in both content and ...