Pride and popcorn: consuming the idea of community at film screenings in the Turkish diaspora

A range of studies have revealed the interrelatedness of identity construction, community formation and media among diasporas, mostly focusing on domestic contexts. Seeking to add further nuance to the understanding of the social lives of diasporas, we concentrate on media culture in the public environment of the film theatre. The significance of diasporic film consumption is investigated through a local audience study of Turkish film screenings in Antwerp. The phenomenon of the screenings was analysed through a multi-method approach, including 536 questionnaires among audiences, 19 in-depth interviews and 3 group interviews, along with previous findings (on distribution and exploitation) of the same project. The results show that Turkish films are almost exclusively attended by people with Turkish roots, creating a Turkish diasporic space within the boundaries of the urban and the public. The audience study shows that the screenings fulfil a major social role but also affect understandings of community

"Oh! What a tangled web we weave": Englishness, communicative leisure, identity work and the cultural web of the English folk morris dance scene

In this paper, we consider the relationship between Englishness and the English folk morris dance scene, considering how the latter draws from and reinforces the former. Englishness is considered within the context of the cultural web; a tool more often applied to business management but linked to a sociological viewpoint here. By doing so, we draw the connections between this structured business model and the cultural identity of Englishness. Then, we use the framework of the cultural web and theories of leisure, culture and identity to understand how morris dancers see their role as dancers and ‘communicative leisure’ agents in consciously defending Englishness, English traditions and inventions, the practices and traditions of folk and morris, and the various symbolic communities they inhabit. We argue that most morris dancers in our research become and maintain their leisured identities as dancers because they are attracted to the idea of tradition – even if that tradition is invented and open to change

The soft power of popular cinema: the case of India

Among BRICS nations, India has the most developed and globalised film industry, and the Indian government as well as corporations are increasingly deploying the power of Bollywood in their international interactions. India’s soft power, arising from its cultural and civilizational influence outside its territorial boundaries, has a long history. Focusing on contemporary India’s thriving Hindi film industry, this article suggests that the globalisation of the country’s popular cinema, aided by a large diaspora, has created possibilities of promoting India’s public diplomacy. It examines the global imprint of this cinema as an instrument of soft power

Framing the Real: Lefèbvre and NeoRealist Cinematic Space as Practice

In 1945 Roberto Rossellini's Neo-realist Rome, Open City set in motion an approach to cinema and its representation of real life – and by extension real spaces – that was to have international significance in film theory and practice. However, the re-use of the real spaces of the city, and elsewhere, as film sets in Neo-realist film offered (and offers) more than an influential aesthetic and set of cinematic theories. Through Neo-realism, it can be argued that we gain access to a cinematic relational and multidimensional space that is not made from built sets, but by filming the built environment. On the one hand, this space allows us to "notice" the contradictions around us in our cities and, by extension, the societies that have produced those cities, while on the other, allows us to see the spatial practices operative in the production and maintenance of those contradictions. In setting out a template for understanding the spatial practices of Neo-realism through the work of Henri Lefèbvre, this paper opens its films, and those produced today in its wake, to a spatio-political reading of contemporary relevance. We will suggest that the rupturing of divisions between real spaces and the spaces of film locations, as well the blurring of the difference between real life and performed actions for the camera that underlies much of the central importance of Neo-realism, echoes the arguments of Lefèbvre with regard the social production of space. In doing so, we will suggest that film potentially had, and still has, a vital role to play in a critique of contemporary capitalist spatial practices