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Conflict and Controversy in Small Cinemas


Edited By Janina Falkowska and Krzysztof Loska

This book examines small cinemas and their presentation of society in times of crisis and conflict from an interdisciplinary and intercultural point of view. The authors concentrate on economic, social and political challenges and point to new phenomena which have been exposed by film directors. They present essays on, among others, Basque cinema; gendered controversies in post-communist small cinemas in Slovakia and Czech Republic; ethnic stereotypes in the works of Polish filmmakers; stereotypical representation of women in Japanese avant-garde; post-communist political myths in Hungary; the separatist movements of Catalonia; people in diasporas and during migrations. In view of these timely topics, the book touches on the most serious social and political problems. The films discussed provide an excellent platform for enhancing debates on politics, gender, migration and new aesthetics in cinema at departments of history, sociology, literature and film.

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13. Migrants and exiles in the films by Katarzyna Klimkiewicz (Krzysztof Loska)


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Krzysztof Loska

Instytut Sztuk Audiowizualnych, Uniwersytet Jagielloński, Poland

13. Migrants and exiles in the films by Katarzyna Klimkiewicz

Abstract: A methodological starting point is transnationalism as understood by Will Higbee and Song Hwee Lim who claim that the concept does not only refer to coproduction or global distribution but also includes political, cultural and social factors that help promote understanding contemporary cinema and the world around us. This is the perspective I would like to assume when analyzing the films by Katarzyna Klimkiewicz who mainly focuses on ethnic minorities and their problems. Klimkiewicz presents the lives of political and economic refugees, raising the issues of multicultural society, racism and discrimination. I concentrate on Klimkiewicz’s short film entitled Hanoi-Warszawa (2009) and her feature debut Flying Blind (2012), made in Great Britain. On the basis of these two examples, I would like to prove that contemporary cinema tackles “a migrant issue” in different ways: one refers to the poetics of a documentary and allows the “subaltern Others” speak, while the other makes use of the genre conventions.

Keywords: Transnational cinema, immigrants, orientalism, Vietnamese diaspora in Poland

It seems that the concept of transnationalism has become ubiquitous in contemporary film studies. The issues of border crossings, flows, and cultural hybridity are frequently raised by scientists; however, it seems that Polish films are rarely analyzed in this context. Polish researchers still seem to find penchant in using the category...

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