Dimensions of Diaspora

El-Tayeb, Fatima

doi:10.5749/minnesota/9780816670154.003.0002

Cited by 2 publications

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“…Deleuze,Cinema 1,211. to disclose itself, even partially.' 34 In a context where the links between situation, action, and reaction have dissolved, 'chance becomes the sole guiding thread' 35 of contemporary f ilm narratives, a paradigm that is abundantly evident in the three films discussed in this chapter. In these and many other neoliberal films, chance is linked with the promise of happiness, igniting a sense of possibility that is ultimately as threatening as it is sustaining, thereby operating as a form of cruel optimism.…”

Section: The Cinema Of Neoliberalism and The Time-imagementioning

confidence: 97%

“…Deleuze delineates how, after the betrayal of its revolutionary ideal (the crisis of the action-image), cinema turned inward on itself: '[H]aving no more stories to tell, [cinema] would take itself as object, and would be able to tell only its own story (Wenders).' 34 As his citation of Wenders suggests, the New German Cinema constitutes a central focus for Deleuze's exploration of the time-image, for in addition to exhibiting direct representations of time, the films of Wenders, Straub/ Huillet, Fassbinder, Schroeter, and others also emphasize the 'missing people' who no longer comprise the political subject of cinema, turning their focus instead toward the exchange relation that conditions cinema from within, the camera/money exchange.…”

Section: Deleuze and The 'Death Of Cinema'mentioning

confidence: 99%

“…Republic, where the film 'had the biggest launch of an East German film ever'. 34 The popularity of Solo Sunny helped to usher in a new era of interest in DEFA films in the Federal Republic. Throughout the 1980s, DEFA films played regularly at the Berlin Film Festival 35 and they were also purchased by West German television, where they aired successfully.…”

Section: After Alltag: Individualism and Refusal In The Transitional Defa Film Solo Sunnymentioning

confidence: 99%

“…GermAN CiNemA iN the AGe of NeoliberAlism 1990s. 34 While it is certainly true that the collapse of the GDR paved the way for increased neoliberalization since unification, it is crucial to recognize that the implementation of neoliberalism in Germany-and its effects on everyday life-began well before 1989.…”

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confidence: 99%

“…37 First theorized in the 1930s, ordoliberalism developed as a response to the social and economic crisis of the interwar years in Germany, including the worldwide economic collapse of 1929, the failure of the Weimar Republic, and the spiritual and moral dilemmas brought about by the emergence of mass society. 38 Like other forms of liberal 34 Harvey, A Brief History of Neoliberalism, 89-90. Harvey argues that neoliberalization began in Germany in the 1990s, due to the stresses on Germany's technological advantage brought about by unification as well as the declining role of banks and the rising role of stock exchanges in the world economy.…”

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confidence: 99%

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German Cinema in the Age of Neoliberalism

Baer¹

2021

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Scholarship Award from the University of Maryland allowed me to complete drafts of several chapters; I also thank Fatemeh Keshavarz-Karamustafa for granting me a course release that gave me time to complete the initial draft of the full manuscript amidst many administrative duties.I am especially grateful to the University of Maryland for supporting the open-access publication of this book, allowing it to enact the critique it offers by defying the privatization and marketization of academic research. My thanks go to Luka Arsenjuk of the Program in Cinema and Media Studies; Julie Koser of the Department of Germanic Studies; the School of Languages, Literatures, and Cultures; the College of Arts and Humanities; and the University Libraries for providing funding. Special thanks to Kelsey Corlett-Rivera, Head of Research Commons, for her advocacy and support of open-access humanities scholarship, and to Terry Owen, Digital Studies Librarian, for his assistance. Many thanks as well to Lauretta Clough, Janny Peng, Amy Xing Struck, and Charlotte Yuk Fan Tai in the School of Languages, Literatures, and Cultures for all their help in coordinating the subvention funding.I am thrilled to publish German Cinema in the Age of Neoliberalism with Amsterdam University Press and the Film Culture in Transition Series. I thank Senior Commissioning Editor Maryse Elliott for her encouragement and support of the project, especially amidst the challenges posed for publishing by the global pandemic in 2020, when this book went to press. My thanks also go to Mike Sanders for his careful gatekeeping of the manuscript; to Daniela Pinnone for her assistance with accounting; and to Chantal Nicolaes for coordinating production.Chapter 2 is partially based on my article "Das Boot and the German Cinema of Neoliberalism," published in German Quarterly 85.1 (2012). I thank Wiley Blackwell for permission to reprint this material. Several sections of the book also draw on material previously published in "Affectless Economies: The Berlin School and Neoliberalism" in Discourse 35.1 (2013) and "The Berlin School and Women's Cinema," in The Berlin School and Its Global Contexts, edited by Marco Abel and Jaimey Fisher (Wayne State UP, 2018). I thank Wayne State University Press for permission to republish portions of both essays.Finally, I thank my family, especially Della Baer and Ryan Long, for their care, sustenance, unwavering support, and enthusiastic and animated participation in home film screenings and discussions. They make ordinary life extraordinary, and they inspire me every day. I dedicate this book to my parents, Clint and Elizabeth Baer, with gratitude for their love and generosity.

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Section: The Cinema Of Neoliberalism and The Time-imagementioning

confidence: 97%

Section: Deleuze and The 'Death Of Cinema'mentioning

confidence: 99%

Section: After Alltag: Individualism and Refusal In The Transitional Defa Film Solo Sunnymentioning

confidence: 99%

mentioning

confidence: 99%

mentioning

confidence: 99%

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German Cinema in the Age of Neoliberalism

Baer¹

2021

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Silence as an Interlocutor in the Diaspora: Olumide Popoola’s this is not about sadness

Watkins

2019

Open Cultural Studies

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This article analyzes silences in the novella this is not about sadness. Using theories of community building by Fatima El-Tayeb, opacity from Édouard Glissant, and theories by Popoola herself, my work argues for the generative way silences function. Silence interweaves the text in community of women and PoCs who create healing and community in shared trauma. Further, the novella articulates diasporic space through language. The use of language is complimented by multiple silences; silences occur when recalling trauma. Violence against Black women looms as trauma occurs in and around the piece, but the novella rejects a narrative of trauma (considering even the title). The narrator continues to exert agency as she continues to narrate the story after her death; just because her life is over, the story is not over. In a novella centering around women, Popoola’s diasporic story also allows for silence; the novella rejects the notion that words are necessary. Featuring multiple narrators, this novella embodies the struggle of and for language as well its emergence in a relational community.

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Dimensions of Diaspora

Cited by 2 publications

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German Cinema in the Age of Neoliberalism

German Cinema in the Age of Neoliberalism

Silence as an Interlocutor in the Diaspora: Olumide Popoola’s this is not about sadness

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