On the Re-Configurations of Cinematic Media-Spaces: From Diaspora Film to Postdiaspora Film

Alena Strohmaier

doi:10.1007/978-3-658-31160-5_14

Abstract

ZusammenfassungThis chapter analyzes the formation of the (self-applied) designation “Iranian diaspora” and its cinematic representations. The Iranian diaspora and its filmmaking are suitable objects of investigation because they can be used to illustrate two transformations, both of diaspora into postdiaspora and diaspora film into postdiaspora film. This reconfiguration manifests itself spatially on three levels: the real space of the diaspora, which is subject to socio-political changes; the internal-diegetic spaces in the films themselves, which constantly bring new themes to the fore; and film as a space-creating instance in itself, which constantly updates its own mediality. In Iranian (post-)diaspora film, these different spatial dimensions come together, as illustrated by this chapter’s analysis of Ana Lily Amirpour’s A Girl Walks Home Alone at Night (USA, 2014).

Highlights

“Whether ‘diaspora’ is a common word, a scientifically constructed concept, or a rallying cry that gives meaning to a collective reality, it is highly contemporary
The year 1979, marked a turning point: the Islamic revolution, which resulted in the deposition of Shah Reza Pahlavi and the establishment of an Islamic republic under Ayatollah Khomeini, led to probably the largest
This chapter is primarily concerned with the re-configuration of diaspora into postdiaspora fueled by the formation of the term “Iranian diaspora” and its cinematic representations in what are termed postdiaspora films

Summary

Introduction

“Whether ‘diaspora’ is a common word, a scientifically constructed concept, or a rallying cry that gives meaning to a collective reality, it is highly contemporary. It makes three underlying theoretical assumptions: first, the development of a flexible and open concept of diaspora; second, an anti-essentialist definition of culture; and third, questioning of the dazzling category of the “hybrid.” In a close analysis of Ana Lily Amirpour’s 2014 film A Girl Walks Home Alone at Night, I will demonstrate that these re-configurations manifest on three spatial levels: the real space of the diaspora, which is subject to socio-political changes; the internal-diegetic spaces in the films themselves, which constantly bring new themes to the fore; and film as its own space-creating entity that constantly updates its own mediality.

Results

Conclusion