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 language | English |
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Title of host publication | Migration, Dislocation and Movement on Screen |
Editors | Ruxandra Trandafoiu |
Publisher | Berghahn Books |
Chapter | 8 |
Pages | 162-178 |
Number of pages | 14 |
ISBN (Electronic) | 978-1-80539-594-2 |
DOIs | |
Publication status | Published - 15 Jul 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