| Summary: | <p>Almost two decades ago, along with the increasing frequency of migrant films, ‘migrant cinema’ as a generic domain entered into the discussions. The optimism brought by extending and deepening union of Europe, growing acceptance of multiculturalism as a merit and new concerns on the idea of nation-state helped migrant cinema to be embraced as a category. In the wake of the disruption of the thick shades of national cinemas, transnational, migrant, diasporic films and pluralist practices became visible.</p><p>While European identity is smitten by the rise of far-right, Euro-skeptics, economic depression which hit Greece and tend to spread, destabilized neighboring regions, and the influx of asylum seekers, the optimistic cosmopolitan ground for the idea of a united Europe is losing power. Today changing priorities of 1990’s welfare Europe and emphasized European identity transform migrant films, as well. As the focus slides from migrant communities to asylum seekers, this work aims to question the validity of the term ‘migrant cinema’.</p><div><p class="Moment-Baslik-32"> </p></div><p> </p>
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