Rewriting History from the Margins : Diasporic Memory, Shabby Chic and Archival Footage. / Berghahn, Daniela.

Screening European Heritage: Creating and Consuming History on Film. ed. / Paul Cooke; Rob Stone. Basingstoke : Palgrave Macmillan, 2016. p. 85-106 (European Film and Media Studies).

Research output: Chapter in Book/Report/Conference proceedingChapter (peer-reviewed)

Published

Standard

Rewriting History from the Margins : Diasporic Memory, Shabby Chic and Archival Footage. / Berghahn, Daniela.

Screening European Heritage: Creating and Consuming History on Film. ed. / Paul Cooke; Rob Stone. Basingstoke : Palgrave Macmillan, 2016. p. 85-106 (European Film and Media Studies).

Research output: Chapter in Book/Report/Conference proceedingChapter (peer-reviewed)

Harvard

Berghahn, D 2016, Rewriting History from the Margins: Diasporic Memory, Shabby Chic and Archival Footage. in P Cooke & R Stone (eds), Screening European Heritage: Creating and Consuming History on Film. European Film and Media Studies, Palgrave Macmillan, Basingstoke, pp. 85-106. https://doi.org/10.1057/978-1-137-52280-1_5

APA

Berghahn, D. (2016). Rewriting History from the Margins: Diasporic Memory, Shabby Chic and Archival Footage. In P. Cooke, & R. Stone (Eds.), Screening European Heritage: Creating and Consuming History on Film (pp. 85-106). (European Film and Media Studies). Palgrave Macmillan. https://doi.org/10.1057/978-1-137-52280-1_5

Vancouver

Berghahn D. Rewriting History from the Margins: Diasporic Memory, Shabby Chic and Archival Footage. In Cooke P, Stone R, editors, Screening European Heritage: Creating and Consuming History on Film. Basingstoke: Palgrave Macmillan. 2016. p. 85-106. (European Film and Media Studies). https://doi.org/10.1057/978-1-137-52280-1_5

Author

Berghahn, Daniela. / Rewriting History from the Margins : Diasporic Memory, Shabby Chic and Archival Footage. Screening European Heritage: Creating and Consuming History on Film. editor / Paul Cooke ; Rob Stone. Basingstoke : Palgrave Macmillan, 2016. pp. 85-106 (European Film and Media Studies).

BibTeX

@inbook{95bf618f99f9439b96139aa058f958e4,
title = "Rewriting History from the Margins: Diasporic Memory, Shabby Chic and Archival Footage",
abstract = "This essay seeks to probe the limits of heritage cinema in relation to films that engage with disaporic memory, a particular type of transnational memory that is inherently at odds with the overtly national project pursued by heritage cinema. Thus, one of my objectives is to examine how diasporic filmmakers pluralise national heritage by articulating counter memories that bring the lacunae of hegemonic history into focus. What strategies do they use to insert alternative accounts of the past that have hitherto been elided because, in the words of Pierre Nora, diasporic communities have no {\textquoteleft}historical capital{\textquoteright} (1989: 7). I shall consider three case studies which reflect the recent historical turn of diasporic European cinema. Whereas earlier phases of diasporic filmmaking have been firmly anchored in the socio-political realities of the present, since the early 2000s a growing number of films have engaged with historical subject matters. This shift in focus from the present to the past went hand in hand with a shift from social realist dramas to popular genres, reflecting diasporic filmmakers{\textquoteright} attempt to move their films out of an ethnic niche into the mainstream. Case studies: Hors-la-Loi / Outside the Law (Rachid Bouchareb (2010); Almanya - Willkommen in Deutschland / Almanya: Welcome to Germany (Yasemin Samdereli, 2011); Belle (Amma Asante, 2014). ",
keywords = "Heritage cinema , European cinema , Memory discourse, diasporic memory , archive, Algerian War of Independence in cinema ",
author = "Daniela Berghahn",
year = "2016",
month = sep,
day = "2",
doi = "10.1057/978-1-137-52280-1_5",
language = "English",
isbn = "9781137522795",
series = "European Film and Media Studies",
publisher = "Palgrave Macmillan",
pages = "85--106",
editor = "Cooke, {Paul } and Stone, {Rob }",
booktitle = "Screening European Heritage",

}

RIS

TY - CHAP

T1 - Rewriting History from the Margins

T2 - Diasporic Memory, Shabby Chic and Archival Footage

AU - Berghahn, Daniela

PY - 2016/9/2

Y1 - 2016/9/2

N2 - This essay seeks to probe the limits of heritage cinema in relation to films that engage with disaporic memory, a particular type of transnational memory that is inherently at odds with the overtly national project pursued by heritage cinema. Thus, one of my objectives is to examine how diasporic filmmakers pluralise national heritage by articulating counter memories that bring the lacunae of hegemonic history into focus. What strategies do they use to insert alternative accounts of the past that have hitherto been elided because, in the words of Pierre Nora, diasporic communities have no ‘historical capital’ (1989: 7). I shall consider three case studies which reflect the recent historical turn of diasporic European cinema. Whereas earlier phases of diasporic filmmaking have been firmly anchored in the socio-political realities of the present, since the early 2000s a growing number of films have engaged with historical subject matters. This shift in focus from the present to the past went hand in hand with a shift from social realist dramas to popular genres, reflecting diasporic filmmakers’ attempt to move their films out of an ethnic niche into the mainstream. Case studies: Hors-la-Loi / Outside the Law (Rachid Bouchareb (2010); Almanya - Willkommen in Deutschland / Almanya: Welcome to Germany (Yasemin Samdereli, 2011); Belle (Amma Asante, 2014).

AB - This essay seeks to probe the limits of heritage cinema in relation to films that engage with disaporic memory, a particular type of transnational memory that is inherently at odds with the overtly national project pursued by heritage cinema. Thus, one of my objectives is to examine how diasporic filmmakers pluralise national heritage by articulating counter memories that bring the lacunae of hegemonic history into focus. What strategies do they use to insert alternative accounts of the past that have hitherto been elided because, in the words of Pierre Nora, diasporic communities have no ‘historical capital’ (1989: 7). I shall consider three case studies which reflect the recent historical turn of diasporic European cinema. Whereas earlier phases of diasporic filmmaking have been firmly anchored in the socio-political realities of the present, since the early 2000s a growing number of films have engaged with historical subject matters. This shift in focus from the present to the past went hand in hand with a shift from social realist dramas to popular genres, reflecting diasporic filmmakers’ attempt to move their films out of an ethnic niche into the mainstream. Case studies: Hors-la-Loi / Outside the Law (Rachid Bouchareb (2010); Almanya - Willkommen in Deutschland / Almanya: Welcome to Germany (Yasemin Samdereli, 2011); Belle (Amma Asante, 2014).

KW - Heritage cinema

KW - European cinema

KW - Memory discourse

KW - diasporic memory

KW - archive

KW - Algerian War of Independence in cinema

U2 - 10.1057/978-1-137-52280-1_5

DO - 10.1057/978-1-137-52280-1_5

M3 - Chapter (peer-reviewed)

SN - 9781137522795

T3 - European Film and Media Studies

SP - 85

EP - 106

BT - Screening European Heritage

A2 - Cooke, Paul

A2 - Stone, Rob

PB - Palgrave Macmillan

CY - Basingstoke

ER -