The British Bangladeshi diaspora is located at a complex intersection in postcolonial Britain. It not only embodies the unfolding legacy of the erstwhile colonial empire but is also a critical site of contemporary debates around race, religion, and nation. Using an innovative interdisciplinary approach combining key concepts from memory studies, diaspora studies, and arts-based methodologies, this book locates how ‘hidden’ histories of colonialism, Partition, migration, and settlement, are implicated in the community's negotiations of the meanings of being British, Bangladeshi, and Muslim. Mapping key shifts in the temporal and spatial locations of three generations of British Bangladeshis through a diasporic memory ecologies framework, the book analyses how multidirectional anti-colonial and anti-racist memories are gradually forgotten as young British Bangladeshis increasingly mobilise a pan-Islamic identity framework to resist racialisation and alienation. Importantly, through varied case studies, it locates how reanimating mnemonic linkages across these intergenerational ecologies through creative memory work can help understand and negotiate the present-day realities of the postcolonial migrant condition in the UK.

The British Bangladeshi diaspora is located at a complex intersection in postcolonial Britain. It not only embodies the unfolding legacy of the erstwhile colonial empire but is also a critical site of contemporary debates around race, religion, and nation. Using an innovative interdisciplinary approach combining key concepts from memory studies, diaspora studies, and arts-based methodologies, this book locates how 'hidden' histories of colonialism, Partition, migration, and settlement, are implicated in the community's negotiations of the meanings of being British, Bangladeshi, and Muslim. Mapping key shifts in the temporal and spatial locations of three generations of British Bangladeshis through a diasporic memory ecologies framework, the book analyses how multidirectional anti-colonial and anti-racist memories are gradually forgotten as young British Bangladeshis increasingly mobilise a pan-Islamic identity framework to resist racialisation and alienation. Importantly, through varied case studies, it locates how reanimating mnemonic linkages across these intergenerational ecologies through creative memory work can help understand and negotiate the present-day realities of the postcolonial migrant condition in the UK.

As critical interest has grown in the unique ways in which art animation explores and depicts subjective experience - particularly in relation to desire, sexuality, social constructions of gender, confessional modes, fantasy, and the animated documentary - this volume offers detailed analysis of both the process and practice of key contemporary filmmakers, while also raising more general issues around the specificities of animation. Combining critical essays with interview material, visual mapping of the creative process, consideration of the neglected issue of how the use of sound differs from that of conventional live-action, and filmmakers' critiques of each others' work, this unique collection aims to both provoke and illuminate via an insightful multi-faceted approach.

Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them

Historical development of rural settlements, political instability, and proselytization in Bangladesh.