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Transnational Dimensions of Iranian Cinema: “accented films” by Mohsen Makhmalbaf

100%

Wiącek E.

Studia Migracyjne - Przegląd Polonijny

2020

vol. 46

issue 3 (177)

61–84

Iranian film director Mohsen Makhmalbaf left Iran in 2005 shortly after the election of Mahmoud Ahmadinejad. The artist underwent a multiphase evolution away from the supporter of Islamic regime in the early 1980s to cosmopolitan internationally acclaimed auteur. Finally, he became not only a dissident filmmaker but also a political dissident in the aftermath of 2009 presidential election. As exile wears on, Makhmalbaf became postnational filmmaker, making a variety of “accented films”. Not all the consequences of internationalization are positive – to be successful in transnational environment he has to face much larger competition and the capitalist market. Having in mind the categories of displaced Iranian directors distinguished by Hamid Naficy – exilic, diasporic, émigré, ethnic, cosmopolitan – I would like to find out which one of them applies to Mohsen Makhmalbaf’s life and work. I also will focus on the following questions: To what extent the censorship of Makhmalbaf’s artistic activity was a reason for his migration? how are migratory experiences expressed in his movies? What features of “the accented cinema” his movies are manifesting? I would argue that the experience of migration and the transnationality was the characteristic feature of Makhmalbaf’s his work long before leaving the home country. It can be said that regardless this stylistic diversity, all of Makhmalbaf’s movies made abroad can be described as the example of “accented cinema” which comprises different types of cinema made by exilic and diasporic filmmakers who live and work in countries other than their country of origin.

Rethinking Agency, Rethinking Assumptions of the New Social History of Immigration of the Late Twentieth Century

84%

Gerber D. A.

Studia Migracyjne - Przegląd Polonijny

2019

vol. 45

issue 3 (173)

29–40

In the last decades of the twentieth century, the concept of agency – i.e., purposeful self-determination based on calculated choice – enjoyed a hegemonic position in the literature of the social history of European immigration to the United States. The original inspiration for this development in immigration historiography was the path breaking 1964 essay by essay by Rudolph Vecoli challenging the classic work on Oscar Handlin, The Uprooted (1951), which saw immigration as a jarring experience of alienation and confusion that left immigrants defensive and poorly adjusted in their new American homes. This essay reexamines the conflict of views associated with Vecoli’s challenge to Handlin in two contexts. One is the conceptual and empirical foundations of immigration historiography, and the second is the origin and early development of the New Social History, in British and American labor history and in the history of African American slavery and in Western neo-Marxism thought, which sought a humanist alternative to Communist ideology. The essay seeks critical engagement with agency, and advances the view that we should open ourselves once more to seeking guidance in Handlin’s interpretive understandings, which also suggests a reevaluation of the contributions of Thomas and Znaniecki’s The Polish Peasant in Europe and America, the now century-old source of Handlin’s views.

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2 Studia Migracyjne - Przegląd Polonijny

1 2020

1 2019

1 Gerber D. A.

1 Wiącek E.

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Transnational Dimensions of Iranian Cinema: “accented films” by Mohsen Makhmalbaf

Rethinking Agency, Rethinking Assumptions of the New Social History of Immigration of the Late Twentieth Century