The Other in Contemporary Migrant Cinema by Guido Rings

By Guido Rings

As a quickly getting older continent, Europe more and more will depend on the profitable integration of migrants. regrettably, modern political and media discourses discover and often additionally aid the advance of nationalist, eurosceptic and xenophobic reactions to immigration and becoming multiethnicity. Confronting this development, ecu cinema has built and disseminated new transcultural and postcolonial possible choices that may support to enhance integration and neighborhood harmony in Europe, and this publication investigates those choices on the way to establish examples of excellent practices which could increase ecu balance. whereas the cinematic spectrum is as large and open as such a lot notions of Europeanness, the movies tested percentage a basic curiosity within the different. during this qualitative movie research procedure, specific attention is given to British, French, German, and Spanish productions, and a comparability of multiethnic conviviality in Chicano cinema.

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This became particularly clear in the context of international celebrations of 500 years of ‘discovery’ of the ‘New World’ in 1992, which concentrated on European conquest and colonization as new Spanish banknotes with images of Cortés and Pizarro confirmed, but did not always culminate in glorifications of the conquest in the tradition of 1892 events. Instead, organizers of festivities in Seville, Washington, and New York, as well as film directors who continued to portray Columbus as representative of European enlightenment, modernity, and human progress (like Ridley Scott in 1492 and John Glen in Christopher Columbus, both from 1992), encountered often fierce resistance from politicians, authors, and directors celebrating decolonization.

Similarly, and in opposition to traditional concepts, I suggest a definition of European migrant cinema that embraces films about ‘migration’ to/from ‘Europe’, regardless of the cultural background of directors, scriptwriters, producers, cast, or potential viewers. In this sense, migrant cinema should be regarded neither as a genre nor as a homogenous entity. It cannot be categorized as part of Third Cinema or Accented Cinema as defined by Nacify, because it does not necessarily attempt to ‘create a nostalgic, even fetishized, authentic prior culture— before contamination by the West in the case of the Third Cinema, and before displacement and emigration in the case of the accented cinema’ (2001: 31).

3 and mirrored in Gutiérrez’s Poniente (2002) and Glenaan’s Yasmin (2004). ‘“Reborn” as critical subject’ (Alvaray 2004: 62), Cabeza de Vaca has a monumental task in front of him if he wants to fight the key concepts behind the cultural imperialism that shapes Spanish and European conquest of his time. However, despite substantial progress in the field of human rights and anti-discrimination laws, for example, the critical intervention by contemporary authors and directors in favor of more transcultural societies has not necessarily become a much smaller task, because monocultural tendencies have not been broken.

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