Screening and Depicting Cultural Diversity in the by Renée Dickason, Rüdiger Ahrens

By Renée Dickason, Rüdiger Ahrens

Cultural range has lengthy been and is still a posh factor for its depiction and appreciation differ in keeping with the historic, geographical or moral context during which it truly is thought of or the point of view from which it's saw. The articles released during this quantity, written by way of European-based experts of their personal specific fields, draw on examples taken from the 5 continents to discover how range is puzzled and negotiated either inside and past the parameters of colonial or post-colonial adventure. They hence supply titanic nutrients for notion, via discussing the genuine or imagined different in several destinations, at assorted classes, via varied modes of expression (moving pictures at the small or huge display, images and drawings, by myself or in organization with the broadcast word), or by way of suggesting the discordant richness provided by way of simultaneous presence of conflicting narratives.

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Loreto: Tecnostampa, 2007. Bhabha, Homi K. The Location of Culture. London & New York: Routledge, 2004 [1994]. Fanon, Franz. Il negro e l’altro, la presa di coscienza della cultura negra. Milano: Il Saggiatore, 1972 (original title Peau noire et masque blancs. [1951]). Macaulay, Thomas B. ” In The Post-colonial Studies Reader. Eds. Bill Ashcroft, Gareth Griffith and Helen Tiffin. New York: Routledge, 1995. 428-430. Rushdie, Salman. Imaginary Homelands. Essays and Criticism 1981-1991. London: Penguin, 1991.

Bend It Like Beckham. Dir. Gurinder Chadha, 2002. Bollywood / Hollywood. Dir. Deepa Mehta, 2002. Bride and Prejudice. Dir. Gurinder Chadha, 2004. Mumbai Calling. Dir. Kabir Akhtar, Allan McKeown and Stojan Petrov, 2007. 51 Tupi or not Tupi: Diversity, Conformity, and the Cultural Work of Cannibalism in How Tasty Was My Little Frenchman� Judith Kohlenberger Cannibalism alone unites us. (Oswald de Andrade, Cannibalist Manifesto) W hile cinematic depictions of cultural diversity and change in colonial, post-colonial as well as neo-colonial contexts have witnessed a major upsurge in the last few decades, there is an academically frequently neglected, yet, in its metaphorical dimension, highly feasible concept for negotiating issues of assimilation, integration and isolation on the big and small screen: cannibalism.

In this sense, placing at the centre of the narrative that which was previously on the margins may be a good starting point, but it is not enough: specialists in film theory have noted since the late sixties how “existing forms of realism disguised more than they revealed” (Lapsley and Westlake, 165) and, if the story is structured according to the parameters of classic realist modes of representation, the result will fall into a romantic vision of that which has been traditionally marginal or, even worse, a “true account” of that social reality.

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