Piercing Brightness is a science fiction film directed by internationally acclaimed artist Shezad Dawood. The film utilizes science fiction as a backdrop from which to contest fixed notions of race, migration and identity. The plot interweaves elements of documentary, within a character-driven narrative involving the different and changing communities in Preston, in the North of England and points to Lancashire’s position as having the highest UFO sighting rate and the fastest growing Mainland Chinese population in the UK. The film combines digital and analogue processes, high production values and low-fi aesthetics to tell a story through both its narrative and distortions of time brought about by experiments with the various formats used. The story begins with Jiang and Shin, a young Chinese boy and girl, who land in a spacecraft outside of Preston. They have been sent on a mission to retrieve the ‘Glorious 100’ – agents who were sent to this planet millennia ago to study and …
User Reviews: Dawood’s cutting Edge analysis of post-colonial Northern England and allegory of alienation and dialectic between the settled and the Settlers, those yet to be settled, brings to the fore previously unheard of narratives of migration. positive and negative aspects of mass resettling, and the interplay of dialogue between those groups. this is a worthy film and one anyone living in modern day multi-racial Britain should watch this, end of story, it also has a club ready soundtrack which is always a plus. In an age of electronic Orientalism, images of the backward Asian as coy virgin and as demonic unbottled genie proliferate in the British media and by extension the public imagination. Hence the primary definition of a plurality of Asianness through pathological discourses around Islamic identity and a crude politics of victimology. Notwithstanding the frail premises of such parlance, its ability to reactivate a particular paranoid rationality owes much to the fetishization of technology as ideology where high-tech industry is allied to a contemporary instrumental rationality to generate a pervasive psychopathology. Within these ‘modern’ technoscapes perhaps we can" rethink prosthetic ideas of mechanically reproduced participatory democracy by taking on board Les Levidow’s suggestion that:’If we are to subvert such reification of our collective social labour, then we will need somehow to dereify technology, to appropriate its potential for mediating social relations between people’ (Levidow 1994).