| Popis: |
The objective of this artistic research has been to reflect on the conditions forfilmmakers in Sweden and identify expectations, contradictions and subjectpositions available for myself within this discursive field. As a point of departure,I use three letters of rejection that I have received during my two years as astudent at the Stockholm University of the Arts. The first rejection centers what experiences can be imagined for me, as animmigrant filmmaker. It juxtaposes experiences made in Iran and Sweden asopposite and impossible to combine. The second rejection is in relation to contentand story-telling, which raises questions about translation as a dimension of filmproduction. In this section, I argue that while it is my intention to make experiencesof hyper-absurdity in Iran penetrable for an audience in Sweden, too muchconcern over the audience may deteriorate the artistic process. The third rejectionconstructs myself and my fellow director as immigrant others, scrutinizing ourability to make a film in Swedish, about Swedish subjects. In this section, Iexplore the meaning of diaspora and how it shapes the conditions of filmproduction. The artistic research is summarized in the final section where I suggest anumber of strategies forward in order to move away from the taken-for-grantedrole of immigrant filmmaker(s). Key concepts: documentary film, diaspora, translation |
