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1、CulturalIdentityandDiasporaSTUARTHALLAnewcinemaoftheCaribbeanisemerging,joiningthecompanyoftheother'ThirdCinemas'.Itisrelatedto,butdifferentfromthevibrantfilmandotherformsofvisualrepresentationoftheAfro-Caribbean(andAsian)'blacks'ofthediasporasoftheWest-thenewpost-colonialsubjects.Alltheseculturalp
2、racticesandformsofrepresentationhavetheblacksubjectattheircentre,puttingtheissueofculturalidentityinquestion.Whoisthisemergent,newsubjectofthecinema?Fromwheredoeshe/shespeak?Practicesofrepresentationalwaysimplicatethepositionsfromwhichwespeakorwrite-thepositionsofenunciation.Whatrecenttheoriesofenu
3、nciationsuggestisthat,thoughwespeak,sotosay'inourownname',ofourselvesandfromourownexperience,neverthelesswhospeaks,andthesubjectwhoisspokenof,areneveridentical,neverexactlyinthesameplace.Identityisnotastransparentorunproblematicaswethink.Perhapsinsteadofthinkingofidentityasanalreadyaccomplishedfact
4、,whichthenewculturalpracticesthenrepresent,weshouldthink,instead,ofidentityasa'production',whichisnevercomplete,alwaysinprocess,andalwaysconstitutedwithin,notoutside,representation.Thisviewproblematisestheveryauthorityandauthenticitytowhichtheterm,'culturalidentity',laysclaim.Weseek,here,toopenadia
5、logue,aninvestigation,onthesubjectofculturalidentityandrepresentation.Ofcourse,the'I'whowritesheremustalsobethoughtofas,itself,'enunciated'.Weallwriteandspeakfromaparticularplaceandtime,fromahistoryandaculturewhichisspecific.Whatwesayisalways'incontext',positioned.I222CulturalIdentityandDiasporawas
6、bornintoandspentmychildhoodandadolescenceinalower-middle-classfamilyinJamaica.IhavelivedallmyadultlifeinEngland,intheshadowoftheblackdiaspora-'inthebellyofthebeast'.Iwriteagainstthebackgroundofalifetime'sworkinculturalstudies.Ifthepaperseemspreoccupiedwiththediasporaexperienceanditsnarrativesofdisp
7、lacement,itisworthrememberingthatalldiscourseis'placed',andthehearthasitsreasons.Thereareatleasttwodifferentwaysofthinkingabout'culturalidentity'.Thefirstpositiondefines'culturalidentity'intermsofone,shared
