Published Paper Details:

This study explores the construction of collective identities among migrant communities through the lens of Benedict Anderson's concept of imagined communities. Initially formulated to explain the emergence of national identities, Anderson's theory provides a compelling framework for analysing how migrants create and sustain shared identities in host societies. Using a qualitative approach, the research examines cinematic portrayals of migrant experiences, focusing on recent feature films such as The Farewell (2019), Minari (2020), Lion (2016), and In the Heights (2021). These films are analysed to uncover key themes, including shared narratives, cultural rituals, transnationalism, exclusion, and hybrid identities. The findings demonstrate that films serve as cultural texts that visualise the complexities of migrant identity formation. Shared narratives and cultural memory act as unifying forces, while rituals and symbols anchor migrants' sense of belonging. Transnational connections reveal the fluidity of imagined communities, transcending geographic boundaries. Simultaneously, experiences of exclusion and internal tensions within migrant communities challenge the cohesion of these identities. The research highlights how hybrid identities emerge through generational negotiations, blending cultural heritage with adaptation to host societies. By integrating Anderson's theoretical insights with film analysis, this study contributes to an interdisciplinary understanding of migration, identity, and cultural adaptation. It underscores the value of cinema as a medium for examining the lived realities of migrants and the dynamic processes through which they imagine and negotiate collective belonging in an increasingly globalised world.