This article presents a case study of independent immigrant film-making from the 1980s and the early 1990s in Sweden. The aim is twofold: to analyse the memory practices of exilic and diasporic subjects and to stress that what Zuzana M. Pick has coined as the subjective paradoxes and privileges of exile implies an agential understanding of memory. Hence, the study of memory and migration in relation to film practice before the digital turn calls for a theory of cultural production and an approach in which film is not primarily considered a means for representation but an act in itself. © 2016 Intellect Ltd Article.

Migration Exile memory Diaspora Immigrant filmmaking Minor cinemas

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