Transnational Film/media

MARTIN, Fran. “Japanese homoerotic manga in Taiwan: Same-sex love and utopian imagination,” in Women’s Manga in Asia and Beyond: Uniting Different Cultures and Identities, edited by Fusami Ogi, Rebecca Suter, Kazumi Nagaike and John A. Lent. Palgrave MacMillan, Palgrave Studies in Comics and Graphic Novels series (2019): 5-23.

This study aims to analyze the representation of different cultural notions in Turkish-Austrian Migrant Cinema. This study is based on migrant problem, hybrid identities and national values, taking Austria as a sample. Turkish-Austrian migrant films include multiculturalism, Turkish national values and Turkish national cinema narrative by keeping optimism and hope. The sampling of this study consists of films by Umut Dağ and Hüseyin Tabak. The films directed by both of these directors focus on traditional values of Turkish culture, the reflection of these values on Austria and cover the features of transnational cinema. The films portray Turkish immigrants going back and forth between Turkish and Austrian cultures in their daily lives. Moreover, the present study discusses the Turkish-Austrian transnational films.

This paper is going to concentrate on chracteristics of methods of translation, namely dubbing and subtitling. it is also going to show different preferences toward types of translation in European countries. The main part of the papre would be analysis of diferences in English- Polish translation of animated film 'The Jungle Book'.

This article explores the changes of the Spanish television industry upon the arrival of the international Subscription Video on Demand (SVoD) platforms and how Spain has become a noticeable player in the international market. To analyze the hybridization of the industry, a content analysis of the Spanish catalog of SVoD services has been conducted to evaluate the offerings of local series. To further exemplify the current complex relationships among traditional broadcasters, independent producers, and SVoD platforms, an analysis of the evolution of the series The Ministry of Time and Money Heist (two of the most internationally successful Spanish shows) in terms of production, distribution, and cultural trades, reveals the different types of agreements with SVoD players and the balance between the international and domestic markets. Results also indicate the importance of the Spanish geolinguistic market for the success of Spanish series even as the popularity of its shows has transcended the language borders.

As the Philippines' largest export, the more than nine million overseas Filipino migrant workers have become the ideal target market for various products and services. On this end, ABS-CBN, the biggest local media conglomerate, treads a familiar path undertaken by transnational corporations of diversifying their interests by targeting Filipinos living/working in foreign countries as evidenced in their tagline " In the Service of the Filipino Worldwide ". This paper focuses on three films produced by Star Cinema, the film arm of ABS-CBN, dealing with the migrant workers, Milan (2004), Dubai (2005), Love Me Again (Land Down Under) (2009) and its representations of migrant stories in transnational spaces. Utilizing concepts from political economy and supported by qualitative textual analysis, this paper delves into the implicit relationship between mass media products and its accompanying ideologies of accumulation of material wealth and the government policies on the commodification of labor export through the films' representations of the plight and conditions of these migrant workers in foreign spaces.

This study intends to demonstrate that transnational approach to In-Between Europe, and especially to Slovak cinema can be capitalized in a
fruitful way. After theoretical considerations with special regard to the new paradigm of transnational cinema described by Will Higbee and Song Hwee Lim, the paper propounds a revision of the main nodes in Slovak film history as cultural hybrids (films of Karol Plicka and Ján Kadár, the Slovak New Wave Cinema, minor film etc.).Subsequently, the author points at the internal contradictions of the examination in a national framework of film adaptations of Jánošík’s legend which has a pivotal role to construct the Slovak national identity. Finally, Gerencsér will explore the similarities and differences of genre traditions of In-Between Europe and Slovak cinema within the field of film comparatistics focusing on the eastern film, the etnographic film, and
the New Slovak Documentarism named by the author.

This paper interrogates the transcultural flows of popular media, the centers that influence these flows, and the ways in which consumers dirsupt these centers through local consumption. I use Filipino fans and consumers of Japanese popular media and examine how they have disrupted transcultural practices stemming from Japan and the United States by producing fan products that are increasingly local. I argue that in recent years, fan spaces surrounding popular media have become increasingly assertive in expressing their local cultural forms to disrupt the "homogeneity" of global fandom.

There has been little success with exporting Chinese culture abroad, despite considerable eff orts made by the Chinese government. Chinese science fiction (sci-fi) has attracted increasing global attention and may be an important cultural tool to express a Chinese narrative abroad. Previous research has focused on Chinese sci-fi as a national literary product to be consumed within Chinese borders, but little has been written on Chinese sci-fi as a transnational product to be consumed globally. In this paper I examine the role of Chinese sci-fi literature as a transnational cultural tool from a bottom-up perspective. I attempt to understand the current role and function of Chinese sci-fi in the Sinosphere by looking into cultural flows within the sci-fi community and examining the routes of this transnational and transcultural voyage. The findings show that Chinese sci-fi is becoming globalised reaching consumers all over the world yet still maintaining its regional context. Thus, this paper contributes to an enhanced understanding of how Chinese sci-fi literature can create a positive and powerful image of China from the bottom-up.

In a small-nation film and media ecology, cogent thinking about capacity building is of critical importance. In the context of Danish documentary film-making, twinning has emerged as a promising model. Twinning engages Danish film-makers with a world beyond Denmark, thereby counteracting certain parochialisms. At the same time, this model ties in with the Danish state's development goals in the cultural domain, including the aim of fostering dialogue and understanding between Denmark and the countries of the Middle East and North Africa (MENA region). This article evokes the landscape of twinning, as developed by Danish institutions, and provides a rationale for taking the phenomenon of transnationally paired practitioners seriously. More specifically, twinning is seen as a means of realizing public values through film-making. A specific instance of twinning involving collaboration between a Danish and a Lebanese film-maker is discussed in detail, the aim being to identify the conditions under which the relevant type of co-authorship can be said to succeed. The emphasis in this regard is on the ways in which a partnership of equals

For the Chinese, Hamlet is identified and has been widely associated with a peculiar voice and name: Sun Daolin who interpreted, dubbed, and recreated the celebrated character with subtlety, depth, and personal charisma. When Laurence Olivier’s masterpiece, Hamlet (1948), was imported and translated in China in 1958, it became instantly a big hit across the nation and an unparalleled apotheosis of translation of and into Chinese accomplished through Bian Zhilin’s masterful translation, Chen Shuyi’s seasoned directing, and Sun Daolin’s virtuoso dubbing and performance. The three of them were prominent artists, scholars, stars, celebrities, and cultural officials in mid-late twentieth century China. My article explores and traces the reception, reinterpretation, and recontextualization of Hamlet in China across different epochs from its huge success in early PRC (People’s Republic of China), through the censure of the work during the Cultural Revolution, to its resurrection and even a broader appeal during the post-socialist, reform era.

Central to this historiography is my attention to the critical, (pro)active, and fluid roles the translators, performers, and creative personnel have played in the process. By highlighting the dynamic, multifaceted screen-sound-public personae these cultural agents have built and their complex negotiations between the variety of texts, cultures, languages, and sociopolitical settings, I show that the search for a Chinese Hamlet is not only a translation, but also a meta-translation (translation-in-translation), an intro-translation (self-reflection) of the very position and dilemma of intellectuals and individual subjectivities in socialist China, and an inter-translation between literature, theater, film, popular culture, and social life.  Moreover, the translation and the translated provide another vibrant angle to investigate Chinese film and cultural production as well as a comparative frame key to understanding China’s sociopolitical change and international relations during the second half of the twentieth century.

This chapter focuses on Virtual YouTubers (or Vtubers: actors using 3D model anime-like characters to post on YouTube), examining how they are performed through two modes of acting utilized in concert with certain technologies: embodied acting (where unique gestures express individualized personality) in the usage of motion-capture, and figurative acting (where pre-existing codified gestures constitute characters) in the facial expressions from anime performed on a digital avatar after getting filtered through facial recognition technology. Analyzing the varying tendencies of embodied and figurative acting of Vtubers, this chapter concentrates on the popular Vtuber Kizuna Ai, who is an “official cultural diplomat” for Japan, but also has an official Chinese “version” of herself on BiliBili. Her existence across platforms, nations, and languages raises questions about the contemporary intersection between digital, national, and cultural boundaries, and how we perform ourselves in digital media. Kizuna AI’s character performance operates across technologies and platforms in a manner which brings into relief how the contemporary tensions between distinction and duplication play out in our transnational, (trans-)platform society as we perform at the intersection of different modes of selfhood.

For a long time, Hollywood has been interested in remaking films
of different countries. On the level of transnational cinema, a remake
can be considered as borrowing ideas, and adaptation of a work of one
cultural background to another society and country in modern period of
globalization. Hollywood tends to produce remakes of East Asian films
in 21st century while it had done mostly of European films in the
previous century. Among Hollywood remakes of East Asian films, the
case of Oldboy is noticeable. Korean Oldboy and its US remake made
by Spike Lee are two films which expressed the same feeling and
pursue of revenge in the same circumstances, but at the same time two
directors showed to spectators two different main heroes through
different narration and heroes' different representation within the
cinema. To discuss about two films, researchers of this article refer to
concepts of puzzle film studies, which deal with complex non-linear
narrative strategies in contemporary art films. This study examines and
compares two films in terms of complex narrativity, evolution of main
characters from an ordinary human to a monster, and the removal of
monstrosity in the conclusion.

This Introduction to a new volume on the histories of the development of amateur cinema around the world makes the case for the importance of non professional media and its contextualization within new approaches in film and media historiography. It discusses the political implications of such a turn and raises questions about the status of non professional media making today.

Since the beginning of the twentieth century, media corporations began crossing borders and were widely believed to be carriers of cultural imperialism, development and therefore became one of the features of globalization. Approaches to media have changed. It is seen more of a source of information and entertainment. Understanding of the need for traditional societies to reject their roots, in order to be modern, has diminished. Cultural diversity has become a subject of preservation (UNESCO, 2005). However, new threats to cultural distinctiveness, related to transnational media corporations, are believed to be growing. This essay will argue that threats to cultural diversity are not entirely posed by cross-border media corporations.

This study is aimed at demonstrating the capacity of film translation through dubbing and subtitling in Cameroon. The objective is to show how powerful dubbing and subtitling as film translation modes are, as well as, propose the best and suitable mode for the country. The methodology involved basically, a critical review of some relevant studies carried out in film translation. This includes the evaluation of the various film and cinema translation modes currently in use; a classification of countries by translation modes and a brief history outline of film translation. The various reasons which may encourage certain countries to adopt dubbing or subtitling as a mode of film translation and factors determining the choice of dubbing and subtitling are also highlighted and analysed. Findings indicate that subtitling is the choice for Cameroon.

Abstract In the summer of 2008, the Saudi-owned, pan-Arab satellite television network Middle East Broadcasting Center (MBC) aired a failed Turkish soap opera, Gümüş, as the Arabized Noor, creating an overnight sensation and a media panic. Arab news media attributed a wave of domestic violence and divorce to the series' handsome lead actor, and his character's romantic deportment. This article combines content analysis of Noor, examination of online discourses surrounding the series, and interviews with its producers. It explores women's use of new media forms—satellite television and the Internet—to articulate desire and discontent, and the media panic these expressions induced among social and religious conservatives. Opposition to Noor—and to the idolization of its male lead—invokes older notions of women's potent sexual desire as a threat to the social order, and justifies their containment and control. The series' ambiguity, like that of Turkey itself , invokes binaries of East and West, Islam and secularism, tradition and modernity enabling a range of commentary on the state of Arab society in general, and sexual relations in particular. The Noor phenomenon created a forum where conflicting notions of Middle Eastern identity, sexual agency and gender relations vie for dominance.

The full text is also available at the author's personal website. www.kyongyoon.com
This chapter discusses how a cultural form emerging from a postcolonial context can be resignified and reappropriated as a means of cultural negotiation for subaltern groups. It has analyzed global K-pop as a cultural practice that implies postcolonial legacies and struggles in media production and consumption.

This chapter extends the idea that Michael Haneke's Funny Games is founded on the programmatic subversion of genre conventions and ingrained viewing habits to the mechanisms of remaking a film in a different cultural context, arguing that Haneke experimented with the meaning of the transnational remake itself.

This article traces the transformation of an Iranian nationalist poem by Simin Behbahani entitled “I Will Rebuild You, Homeland” (1981) into an expatriate national anthem, and the poem-song’s subsequent incorporation into protests and political speeches by individuals and groups in and outside of Iran. Employing musical and textual analysis, interviews, and a transnational perspective on cultural circulation and reception, I show how exile pop singer Dariush Eghbali’s adaptation of the original poem mobilized the text and opened it to audience participation. The article argues that the poem and its musical–textual permutations exemplify contemporary Iranian practices of national identification in which conflicting parties attempt to motivate “the Iranian people” to political ends. As actors from around the world and across the political spectrum repeatedly turn to nationalist poetry, song, anthem, and political speech, we observe how mass-mediated popular culture reveals ongoing recourse to nationalist forms even in transnational space.
MUSIC AND VIDEO DISCUSSED IN ARTICLE: https://farzaneh-hemmasi.com/media-resources/rebuilding-the-homeland-in-poetry-and-song-resources/

Disney animated princesses are broadcasted around the world through Disney Channel and its global affiliates, as well as through numerous other networks that purchase distribution rights.  In an attempt to provide diversity Disney in the last 25 years has featured non-western princesses -- such as Aladdin (1992), Pocahontas (1995), Mulan (1998), and Moana (2016). This study examines how princess in animated Disney movies are perceived and understood by girls (8-15 years) in three different countries, over two time-periods with a gap of nearly a decade (2009 & 2018).
The primary research question, considering Disney’s global reach, is how race, culture, presence of a royal family interact with transnational access to the same media content, in the perception of princess concept and about being a girl.  The selected countries provide an opportunity to explore differences in perception of Disney princesses between girls raised in country with and without a royal family, and between girls in non-western and western countries. Differences in the perception are attributed to local and national cultures that allow a different lens to view the same content.  A mixed method combining interviews, focus groups and participant generated images was used to gather data in India, Fiji and Sweden.  Results indicate Disney princesses, with their ubiquitous presence in various formats, e.g. media content, costumes and school stationery have created a uniform idea of beauty across countries.  Princesses in Disney were perceived by participants as being caucasian and American, regardless of the race or country they represented. Girls in India and Fiji did not identify with Jasmine or Mulan, who they considered ‘American’, whereas girls in Sweden considered Jasmine and Mulan as princesses of non-western origin.  Girls in India and Fiji did not think they could be princesses because of their skin color, and did not want to lead a life ‘restricted with responsibilities’, but girls in Sweden considered the same question from the place of a choice, i.e. they preferred not to lead a ‘boring’ and regulated life like that of a princess.  Participants from Fiji, with the least access to domestic programming that shows girls of Fijian origin were least likely to consider themselves capable of being a princess.

This paper endorses the emergence of a European trend in science fiction cinema between 1979 and 1991. Focusing on the analysis of the representation of the future, a key issue of the genre, a number of films released in France, Germany and the United Kingdom establish a new way of imagining the future. Despite their different origins, films such as La mort en direct (Death Watch, 1979), Les années lumière (Light Years Away, 1981), Kamikaze 1989 (1982), Nineteen Eighty-Four (1984), Brazil (1985) and Delicatessen (1991), detach from the parameters of contemporary American cinema and choose a distinct mise-en-scène and narratives providing an alternative way of conceiving the genre of science fiction. This essay advocates for overcoming the conventions under which previous science fiction studies have articulated the studies of this genre in order to enrich the debate on what constitutes a science fiction film.

Contemporary Portuguese cinema has become a privileged meeting point for several aesthetic tendencies inherited from film modernity. Filmmakers such as Pedro Costa, João Canijo, João Pedro Rodrigues, João Rui Guerra da Mata, Miguel Gomes, João Nicolau, Susana de Sousa Dias and Gonçalo Tocha, among others, have developed new forms of storytelling away from mainstream conventions, in which they suggest the possibility of joining national identity and transnational links. This paper, therefore, aims to discuss some of the main aesthetic features shared by these filmmakers, such as the experimentation with genres, the mixture of documentary and fiction, the critical revision of archival footage and the aesthetics of distance. These links have strengthened the position of Portuguese cinema in the interconnected network of reciprocal influences that has recently replaced the old paradigm of national cinemas. Arguably, then, contemporary Portuguese cinema addresses national issues as part of an ongoing dialogue with other film industries.

Available here: https://read.dukeupress.edu/boundary-2/article/49/1/231/294856/Utopia-in-a-Package-Digital-Media-Piracy-and-the?guestAccessKey=000e01a6-bb04-4845-a230-99af5c3dc4a1

Abstract: Following the 1959 revolution, the Cuban state nationalized media outlets on the island and has controlled them ever since. Since 2010, however, this monopoly has been threatened by the paquete (package), one terabyte of pirated digital media collected by independent Cuban entrepreneurs and circulated through informal distribution networks across the island using flash drives and hard drives. Combining archival and textual analysis with ethnographic research, this article analyzes how the legacy of state socialism gave distinctive shape to experiences and perceptions of digital media piracy as well as the influx of global entertainment genres and the rise of new forms of domestic cultural production, especially advertising, that the paquete enabled” to “this article analyzes how the legacy of state socialism gave distinctive shape to experiences and perceptions of digital media piracy. I show how the state’s history of contravening international copyright provided justification for piracy and how cultural producers and consumers worked to reconcile revolutionary aspirations for socialist art with the influx of global entertainment and the rise of new forms of local cultural production, especially advertising, enabled by the paquete.

A short, public-facing analysis of this research was previously published online through Cultural Anthropology's Fieldsights; available here: https://culanth.org/fieldsights/utopia-in-a-package-digital-media-piracy-and-the-politics-of-entertainment-in-cuba

Beginning in the twenty-first century, Korean television dramas
became a transnational media phenomenon called Hallyu (also
known as the Korean Wave, Han’ryu, Hanliu). Some Hallyu fans not
only watch the dramas, but they also travel to Korea to immerse
themselves in Korean cultures they saw in the dramas. What
makes Korean television dramas so appealing to the disparate
Hallyu fans? What is it about the dramas that inspire their viewers
to travel to Korea? This article is based on data gathered from
digital archival research of online Hallyu fan forums, and
ethnographic interviews and participant-observations I conducted
in Korea where I interviewed the Hallyu tourists. I build on existing
research on Hallyu and transnational media studies. However, I
suggest that existing theoretical frameworks of ‘cultural proximity’
or ‘Orientalism’ do not accurately capture the essence of my
Hallyu tourist informants’ reasons for consuming Korean television
dramas and traveling to Korea. I suggest that rather than the
dichotomous framework of cultural proximity and Orientalism,
Hallyu should be observed through the framework of
transnational intimacy. More specifically, I suggest that Hallyu
fans’ romantic and intimate desires for Korean men are central to
the transnational popularity of Korean dramas and Hallyu tourism.

https://www.tandfonline.com/doi/full/10.1080/14766825.2020.1707467?casa_token=MX06bhjpz-8AAAAA:uhwZe2K9JgHbNxhNmrRtrYQsWNH4slorIIbM8qjl2NEa5EuHhbkPGWL4CtR6xbGc_9re7Lom4fVM

These proceedings are a part of the international scientific research project on the narrative and aesthetic values in the Golden Five film by Goran Trenchovski, and it is a result of the two-day scientific conference that took place on March 9th and 10th, 2018 in Strumica, Republic of Macedonia.

After the special projection of the film at NUCK “Anton Panov”, the Symposium titled “Narrative and aesthetic values in the Golden Five film” was held in the “Gligorov” Hotel, when several renowned professors, intellectuals, artists and academics presented their works.

The occasion for this international scientific research project was the summing up of the up-to-date international achievements, positive critical reviews and confirmed qualities of the Macedonian film Golden Five which continues with the sale and distribution. So far, this film has been seen in cinemas by more than 80,000 viewers at home and abroad, and was the most watched and most awarded film in the 2016/2017 season in Macedonia. This already cult film has been screened at about 30 international festivals and has received about 10 awards. The screenplay for this film was inspired by true event and is based on prose and drama motifs of Bratislav Tashkovski. Director of photography is Apostol Trpeski, film editors are Andrija Zafranović and Aristid Filaktov, production designer - Kiril Spaseski, costume designer - Nela Todorovska, make-up artist is Irena Senokozlioska, and the music is composed by Darko Spasovski and Goran Kerkez. The cast includes the following actors: Slavko Shtimac, Jana Stojanovska, Ljupka Djundeva, Igor Angelov, Petar Arsovski, Vasil Mihail, Nenad Milosavljević, Biljana Taneski, Dine Drvarov, Stoyan Velkov, Aleksandar Ristoski, Vlatko Ilievski, Grigor Jovanovski, Igor Todorov, Viktor Jakimovski, etc. Producer is Dejan Miloshevski – “Revolution” from Skopje.

This collection consists of 17 peer reviewed papers by: Sofija Trenchovska, (1975) - doctorand (coordinator of the Symposium); prof. Marian Ţuţui, PhD (1961) - filmologist and critic; doc. Goce Ristovski, MA (1958) - critic and publicist (moderator of the Symposium); Atanas Chuposki, PhD (1969) - filmologist and writer, father Grigorij Jakimov (1976) - presbyter; prof. Mimoza Reyl, PhD (1971), aesthetician and philosopher; prof. Vesna Mojsova-Chepishevska, PhD (1967) - philologist and writer; prof. Aleksandar Prokopiev, PhD (1953) - prose writer and essayist; prof. Petar Grujičić, PhD (1967) - writer and critic; prof. Sasho Ognenovski, PhD (1964) - actor and writer; Vasil Gjorgiev-Likin, MA (1958) - historian and publicist; Niche Vasilev (1948) - academic painter; Vasil Mihail (1979) - magistrand and actor in the film; Nikola D. Sarajlija (1958) - magistrand and dramaturge; Dejan Miloshevski (1976) - producer of the film; doc. Goran Trenchovski, MA (1970) - director of the film, as well as text-interview with the director, by the reputable professor Albert G. Nigrin published in the New Jersey Stage.

“To put something in context” is a common sentiment in everyday speech and scholarly analysis alike. Yet despite widespread familiarity, such expressions bear commonly overlooked and sometimes contradictory meanings based upon distinct, case-specific assumptions. The article makes explicit the assumptions and consequences of “putting memory in context.”  It proceeds under four headings. The first (“Context”) surveys the multi- and interdisciplinary approaches to context in the study of memory; the second (“Container”) and third (“Identity”) elucidate the consequences of some of the principal contexts in use, and the conceptual problems arising from them; and the final section explores possible alternatives.

Renaissance (2006) and Metropia (2009) are two illustrative examples of European cyberpunk cinema of the 2000s. This article will consider the films as representative of contemporary trends in European popular filmmaking. As digital animations aimed at adult audiences and co-produced with other European countries, they epitomise a type of European film. In addition, they share a number of narrative premises. Set in the near future, Renaissance and Metropia depict a dystopian Europe. Recycling motifs from non-European science fiction classics, they share similar concerns with interconnectivity, surveillance, immigration, class, the representation of women, as well as the obsession with beauty and physical perfection. This article will analyse their themes and aesthetics in order to explore how European popular cinema promotes a certain idea of European cultural identity within the limits of an industry whose products are targeted at a global market.

Nobel laureate Niko Tinbergen coined the term ‘supernormal stimulus’ after discovering that birds who lay small, pale blue eggs speckled with grey prefer to sit on larger, bright blue eggs with black polka-dots. He found that he could exaggerate the key qualities of any natural stimulus to produce a stronger reaction yet--be it nurturance, courtship, fear or aggression.
    Animals encounter supernormal stimuli mostly when experimenters build them.  Humans can generate their own and media are awash with them: friendly smiling faces more consistently welcoming than ones own friends, animated cartoon characters with wider eyes than any real child’s, seductive bodies exceeding any proportions found in nature, and a huge array of supernatural menaces.
    This chapter examines film, television, spectator sports, video games, and social websites as well as more traditional media such as print and musical performance in terms of the concept of supernormal stimuli.

The paper presents detailed structural and hermeneutical analysis of three examples of the US remakes of foreign language films that represent the most commonly observed instances of this form of trans-national and trans-cultural transfer in the 2000s: 1.Mainstream cinema: "Infernal Affairs" to "The Departed"; 2.Independent to mainstream cinema: "Ofelas" to "The Pathfinder"; 3. Author cinema: "Funny Games."

This chapter focuses on the relationship between transnational migration and the media, namely on the roles the contemporary media play in the lives of diasporic communities. This relationship is analyzed in the context of the new media environment, characterized by the rapid spread of global communication technologies and growth of transnational media industries. As is argued here, these technologies and industries contribute significantly to processes of decoupling culture from territory, establishing new forms of cultural belonging and promoting new types of cultural practices. However, for many immigrants, they also provide vital tools for maintaining links to their homelands and cultures of origin. Reviewing and systematizing theoretical and empirical research conducted in this field, this chapter focuses particularly on the practices of media use shared by the members of diasporic communities around the world, as well as on their impact on cultural habits, identities and ways of inclusion into the migrants’ new societies. In conclusion, the author argues for abandoning the simple home/host dichotomy as a primary analytical tool for exploring diasporic media spaces, and calls for devoting more attention to the ways the media contribute to the emergence of plural and hybrid identities, stretching beyond the imaginary spaces of nation states.