- Copyright Page
- Three Canadian Film Policy Frameworks
- Canadian Cinema and the Intellectual Milieu
- On the Road: Canadian Cinema and the World
- Mutable Views: Landscape at the Intersection of Cinema and Contemporary Art
- Movie Envy: Cinema in the White Cube (Montreal, 1995–2015)
- (Re)Claiming Cultural Identity: The NFB’s <i>Eskimo Legends</i> and Inuit Animation from Cape Dorset
- Canadian Indigenous Cinema: From Alanis Obomsawin to the Wapikoni Mobile
- The Polarities and Hybridities of Arctic Cinemas
- Diasporic Intimacy: Chinese-Canadian Documentary and the Poetics of Relation
- Canadian Cinema and Its Borders
- Regional Scenes and Canadian Screens: Film in Atlantic Canada
- A Poetics of Discretion
- The Emotional Geographies of Québécois Cinema
- Toronto on Screen
- Quebec Cinema as Global Cinema
- Stand Tall: Winnipeg Cinema and the Civic Imaginary
- Still Here, Still Queer? Rethinking Queer Canadian Cinemas/Canadian Cinemas Queered
- Political Modernism, Policy Environments, and Digital Daring: The Changing Politics and Practice of Cine-Feminism in Quebec, 1967–2015
- From Expanded to Intimate Cinemas in Canadian Experimental Film/Video
- The Bloody Brood: Canadian Horror Cinema—Past and Present
- Popular Quebec Cinema and the Appeal of Folk Homogeneity
- The Musicality of Canadian Cinema
- The World Navigated: Interactive Documentaries in Canada
- The Gaming Turn
Abstract and Keywords
This essay suggests that Chinese-Canadian documentary film can be read as producing forms of diasporic intimacy. Instead of seeking to define diaspora as an object of inquiry, this chapter argues that diaspora exists as a set of relations that are grounded in intimacies that are both private and public. Through an examination of Yung Chang’s Up the Yangtze (2007), Richard Fung’s Dal Puri Diaspora (2012), and Mina Shum’s The Ninth Floor (2015), this essay reveals the complexities of the connections and conditions from which diaspora emerges. Diasporas do not exist in isolation. Rather, they come out of a poetics of relation that demands attention to histories of displacement and loss. As the films discussed in this chapter show, diaspora privileges connection over division.
Lily Cho, Associate Professor, Department of English, York University.
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