Hybrydowość i transkulturowy pejzaż muzyczny w kinie diasporycznym
Hybridity and Transcultural Musical Landscape in Diasporic Cinema

Summary/Abstract: The starting point for the article is the hypothesis that music in diasporic cinema is a tool for communicating and negotiating cultural identity. It is thanks to music that one can transcend binary categories and create a greater probability for internal diversity and real pluralism, leading not to homogeneity, but an acceptance of the random. In his analysis of the work of German and French directors (including Fatih Akin, Tony Gatlif, Jean-François Richet), Loska argues that music contains in itself a transcultural potential, which encourages one to overcome limitations resulting from understanding cultures as complete wholes, and permits creating connections between apparently distant areas, and at the same time shows the benefits of intermingling of influences and allows the directors to capture the hybrid nature of today’s social reality.

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