Just as Nollywood is an example of cultural production reflective of and adding to the notion of “home”, a great number of culturally and geographically displaced peoples can find comfort in diasporic or inter-cultural cinema. People are dislocated for a variety of reasons: war and oppression, such as with the Jewish fleeing Babylon (the origins of the term, diaspora) , something we see now in the refugees fleeing Syria; or the acceleration of immigration to industrial worlds (Tölölyan 1996).
Daniela Berghahn (2006) discusses the notion of Heimat in the films of Fatih Akin, a Turkish-German filmmaker who reached critical and commercial success with Gegen die Wand/Head-On in 2004. Heimat is a German term with no direct translation in European languages. It essentially refers to “home” or “homeland” with social connotations beyond pure geography. It is a uniquely German cultural and cinematic tradition however Akin’s exploration is based around a homecoming journey more closely associated with accented cinema as opposed to the convention of protagonists rooted in one place found in most Heimatfilm (Berghahn 2006 155-156).
The preoccupation with the home space is one constantly thrown in flux by global media. Diasporic film attempts to remedy racial stereotyping found in dominant global media by reflecting the lived experiences of those who have been displaced. As an umteenth generation Australian, I can with some difficulty try to relate. Australia had a very emphatic push towards immigration throughout the 20th century, as well as the diasporic nature of all White Australians being three centuries new to the country.
A recent Australian film that explores some elements of diaspora and displacement is The Sapphires (2012). Four indigenous women form a singing group and perform for troops in Vietnam during the war. Aboriginal communities are portrayed, family relationships, reference to the White Australia policy and racism based on white-passing indigenous children. The film won a number of awards and reached 92% on Rotten Tomatoes, evidence of its cultural value. The following clip shows evidence of diaspora experienced by a white-passing Aboriginal woman during the 60s.
Berghahn, D 2006, ‘No place like home? Or impossible homecomings in the films of Fatih Akin’, New Cinemas: Journal of Contemporary Film, vol. 4, no. 3, pp. 141-157.
Tölölyan, K 1996, ‘Rethinking Diaspora(s): Stateless Power in the Transnational Moment’, Diaspora: A Journal of Transnational Studies, vol. 5, no. 1, pp. 3-36.