Transnational Identities, Transnational Spaces: West Africans in Paris in Contemporary French Cinema

Tarr, Carrie

doi:10.1080/09639480601115292

Cited by 6 publications

(2 citation statements)

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“…The new emerging field has been termed transnational (Tarr 2007), transvergent (Higbee 2007), postcolonial (Shohat and Stam 2003), diasporic,…”

mentioning

confidence: 99%

In Between the Accented and the Mainstream: Cutting across Boundaries in Kniven i Hjärtat

Nikunen¹

2010

Television & New Media

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The article discusses the Swedish fictional television drama Kniven i Hjärtat (KIH) as an accented drama depicting diasporic experience in contemporary Sweden. It is inspired by an ethnographic audience research conducted by the author among migrant teenagers. KIH, produced by Swedish public broadcasting company SVT (2004) is a mixture of realist drama and youth musical depicting life in Swedish multicultural suburb. It is argued that while KIH shares elements of Hamid Naficy?s (2001) concept of ? the accented? thematically and linguistically, the production of the series parts from Naficy?s understanding of the accented as alternative. Produced by the public service broadcasting company (SVT) KIH is situated in the mainstream media influenced by international television broadcasting, most evidently by the BBC. Moreover KIH seems to be berthed in the European public service broadcasting culture as it embraces the shifts in EBU?s multicultural policies.Recent theorizations in film studies have identified the emergence of cinema that at the representational and productional levels cuts across the boundaries of nation-states and national identities. The new emerging field has been termed transnational (Tarr 2007), transvergent (Higbee 2007), postcolonial (Shohat and Stam 2003), diasporic,

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“…The new emerging field has been termed transnational (Tarr 2007), transvergent (Higbee 2007), postcolonial (Shohat and Stam 2003), diasporic,…”

mentioning

confidence: 99%

In Between the Accented and the Mainstream: Cutting across Boundaries in Kniven i Hjärtat

Nikunen¹

2010

Television & New Media

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“…Kansallisia rajoja ja identiteettejä hämmentäviä elokuvia on määritelty teoreetikosta riippuen transnationaaliksi (Tarr 2007), transvergentiksi (Higbee 2007), postkoloniaaliseksi (Shohat & Stam 2003) ja aksenttiseksi (Naficy 2001;Suner 2006). Yhteistä näille teoretisoinneille on kiinnostus elokuvaan, joka tarkastelee diasporan ja muuttoliikkeen kokemusta sekä kuvastojen transnationaalia kiertoa (Maasilta 2007, 83).…”

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Aksenttista draamaa : rajojen ylityksiä televisiosarjassa Veitsi sydämessä (2004)

Nikunen¹

2009

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Seeing Paris in total darkness: the aesthetics of opacity in Nicolas Klotz's and Élisabeth Perceval‘sLa Blessure

Hinderliter

2015

African and Black Diaspora: An International Journal

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Transnational Identities, Transnational Spaces: West Africans in Paris in Contemporary French Cinema

Cited by 6 publications

References 1 publication

In Between the Accented and the Mainstream: Cutting across Boundaries in Kniven i Hjärtat

In Between the Accented and the Mainstream: Cutting across Boundaries in Kniven i Hjärtat

Aksenttista draamaa : rajojen ylityksiä televisiosarjassa Veitsi sydämessä (2004)

Seeing Paris in total darkness: the aesthetics of opacity in Nicolas Klotz's and Élisabeth Perceval‘sLa Blessure

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