Diasporic and Exilic cinema
-Diasporic cinema and Exilic cinema are types of cinema made by filmmakers which are also called “Accented filmmakers.”
-The Accented filmmakers express their work through the small opening between social formations and cinematic practices.
- “Majority of the Accented filmmakers are from Third world and post colonial countries who since the 1960s have relocated to northern cosmopolitan centers where they exist in a state of tension and dissension with both their original and their current home” ( Nacify)
-Accented film makers can be separated in to 2 groups. The first group had migrated to the west during the late 1950s to the 1970s, due to decolonization and wars. As for the second group, they had migrated to the west during the 1980s and 1990s, due to the failure of nationalism, socialism, and communism. Moreover, capitalism and war had also influenced the migration.
- Exilic cinemas are films which are produced by filmmakers who have been exile internally or externally.
- Internal exilic films are films which face restrictions, deprivations, and censorship by the country of the filmmaker.
- As for the external exilic films, these films are produced by filmmakers who by force had to leave their original country. Hence, they always long for the nostalgia at their home country. Consequently to this, it had caused them to create films about their home land.
- In the same time, the film also produces the feeling of “hybrid excess” or “deterritorialized”, which are the mix feelings of the filmmaker towards their home land and their new country. (?)
- Similar to Exilic cinema, it is also about the difficulties which are experienced by Diaspora in new countries, such as the difficulties to adapt with the social customs, culture, racisms etc.
- However the differences is the migration of Diaspora are due to their desire for the increase in trade, work, or...