‘I Am Not Here to Just Be En Vogue’: Talking About the Politics of Dislocated Filmmaking, the Clarity of the ‘Third Eye’ and Having a Place in Your Country’s Film Memory with Egyptian-British Director Khaled El Hagar

RUXANDRA TRANDAFOIU, ROGER SHANNON

Research output: Chapter in Book/Report/Conference proceedingChapterpeer-review

Abstract

This chapter is inspired by the personal reflections and the professional trajectory of Egyptian-British filmmaker Khaled El Hagar. It explores the doubled positioning of diasporic filmmakers which allows them to develop a ‘third eye’, a ‘diasporic optic’. This multiplicity allows migrant filmmakers to inhabit, often uncomfortably, several cultures and identity spaces, and gives them a certain acuity, criticality and reflexivity. Simultaneous inclusion and exclusion are explored in this chapter in relation to El Hagar’s hybrid aesthetic, desire for universality and providing a distanced but at the same time informed and reasoned response to current political events. The analysis is contextualized by lingering colonial hierarchies still permeating British/European cinema. El Hagar’s extended filmography is provided.
Original languageEnglish
Title of host publicationMigration, Dislocation and Movement on Screen
EditorsRuxandra Trandafoiu
PublisherBerghahn Books
Chapter8
Pages162-178
Number of pages14
Publication statusAccepted/In press - 15 Mar 2024

Keywords

  • diasporic optic
  • dislocated filmmaking
  • double-consciousness
  • hybridity
  • subaltern
  • third eye
  • third space

Research Groups

  • Culture Power and Inclusion Research Group
  • Migration Working Group - North West

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