Women´s Art Festival:
Immigrant, Refugee, and
Friday, August 2nd to Sunday, August 4th, 2019
Saw Gallery (Arts Court)
67 Nicholas St, Ottawa, ON K1N 7B9
Malini Guha is an Associate Professor of Film Studies at Carleton University. Her research is broadly concerned with spatiality and cinema, with a concentration on postcolonial and post-imperial modes of mobility, migration, displacement and settlement.
Her first monograph, From Empire to the World: Migrant London and Paris in Cinema is a study of cinematic London and Paris from the perspective of migrancy, globalization and the end of empire in a British and French context. Her work has been published in journals such as Screening the Past and the Journal of British Cinema and Television. Over the last year, she assumed the role of Resident Critic for Knot Projects public projection program, as part of SAW Video Media in Ottawa, Canada.
The study of globalization in cinema assumes many guises, from the exploration of global cinematic cities to the burgeoning 'world cinema turn' within film studies, which addresses the global nature of film production, exhibition and distribution. In this ambitious new study, Malini Guha draws together these two distinctly different ways of thinking about the cinema, interrogating representations of global London and Paris as migrant cinematic cities, featuring the arrival, settlement and departure of migrant figures from the decline of imperial rule to the global present.
Drawing on a range of case studies from contemporary cinema, including the films of Michael Haneke, Claire Denis, Horace Ové and Stephen Frears, Guha also considers their world cinema status in light of their reconfiguration of established forms of filmmaking, from modernism to social realism. An illuminating analysis of London and Paris in world cinema from the vantage point of migrant mobilities, From Empire to the World explores the ramifications of this historical shift towards the global, one that pertains in equal measure to cityscapes, their representation as world cinema texts, and to the rise of 'world cinema' discourse within film studies itself.