By Daniela Berghahn, Claudia Sternberg (eds.)
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Extra resources for European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe
This would explain why journeys of quest, ‘homebound’ journeys and the genre of the road movie occupy a privileged position in migrant and diasporic cinema. Spatial mobility as one of the distinctive features of the cinema under consideration here is also contained in ‘immigrant cinema’ (Bosséno 1992) and its various linguistic variants: cine de inmigración and cine de inmigrantes in Spanish (Santaolalla 2005, Castiello 2005), Migrantenkino and Migrationsfilm in German, and cinéma de l’émigration or cinéma de l’immigration in French.
Those are the real, concrete, constraining features of being defined in this way or defining yourself in this way’ (2007). Overall in French critical debates, cinéma du métissage has been less commonly used than phrases such as ‘le cinéma de l’émigration’ or ‘le cinéma de l’immigration’. 20 Cinéma du métissage, however, was popularised in German film criticism in an often-cited article by Georg Seeßlen (2000), using le cinéma du métissage synonymously with ‘the Cinema of Inbetween’ and ‘das Kino der doppelten Kulturen’ (the cinema of dual cultures).
Will Higbee (2007b) has also taken issue with the amorphous concept of transnational cinema because it does not adequately reflect the specificities of diasporic and post-colonial films. He proposes an alternative category, ‘cinema of transvergence’, to cover a terrain very similar to that of our migrant and diasporic cinema, with the principal difference that he focuses on post-colonial and diasporic Francophone cinemas. Borrowing the notion of ‘transvergence’, as used by Marcos Novak (2002) to capture the ‘liquid architecture’ of contemporary digital design, and combining it with Deleuze and Guattari’s concept of the rhizome, Higbee’s ‘cinema of transvergence’ draws attention to the inversion of relations between the centre and the margin.