Hybridity and Transcultural Musical Landscape in Diasporic Cinema
Abstract
The starting point for the article is the hypothesis that music in diasporic cinema is a tool for communicating and negotiating cultural identity. It is thanks to music that one can transcend binary categories and create a greater probability for internal diversity and real pluralism, leading not to homogeneity, but an acceptance of the random. In his analysis of the work of German and French directors (including Fatih Akin, Tony Gatlif, Jean-François Richet), Loska argues that music contains in itself a transcultural potential, which encourages one to overcome limitations resulting from understanding cultures as complete wholes, and permits creating connections between apparently distant areas, and at the same time shows the benefits of intermingling of influences and allows the directors to capture the hybrid nature of today’s social reality.
Supporting Agencies
Keywords:
diasporic cinema, Fatih Akin, Tony Gatlif, Jean-François RichetReferences
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Authors
Krzysztof Loskakwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Profesor UJ, dyrektor Instytutu Sztuk Audiowizualnych tamże; zajmuje się filmem japońskim i kulturą współczesną; autor ponad stu publikacji naukowych, w tym jedenastu książek, m.in.: Dziedzictwo McLuhana. Między nowoczesnością a ponowoczesnością (2001), Hitchcock - autor wśród gatunków (2002), David Cronenberg: rozpad ciała, rozpad gatunku (2003, wspólnie z Andrzejem Pitrusem), Encyklopedia filmu science fiction (2004), Tożsamość i media. O filmach Atoma Egoyana (2006), Poetyka filmu japońskiego (2009), Kenji Mizoguchi i wyobraźnia melodramatyczna (2012), Nowy film japoński (2013).
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